Query Letter For Picture Books: Example & Template

No. But in most cases, it's probably a good idea.

This criticism ("protagonist needs development/arc/change") is often shorthand for "this story doesn't have much craft to it" or "there's no arc to this thing." If the protagonist has no arc, good chance the story doesn't, either—but this isn't a hard-and-fast judgment.

The better question to ask is whether your protagonist should change. If not, you should have a firm idea why not, and so should your reader by the end. What would the character's not changing say, mean, or do? Is it a tale where everyone knows the protagonist needs to change, but he doesn't? Does he suffer the consequences? Get away with it? And so on.

Unless you can articulate why your character shouldn't change, then your editor is probably right: change would help the story along. But before you get rewriting, decide how this change will advance the story, what effects it will have.

In other words: Don't just change a character arc because an editor said you should. Change it because the story will be stronger for it.

This is what is usually expected, especially in coming-of-age stories for teens. However, in some cases, the point of the story might be that the main character does NOT change. And if this scenario works best for the story you are trying to tell, then the protagonist does not have to change.

While growth in the protagonist by the end of the story is the "norm" for most books, sometimes the growth comes from getting what they wanted at the beginning. There are many ways for "growth" to occur. Whichever path is chosen must make sense for your story and feel organic to the narrative, not forced.

Example of a "stuck" adult character that doesn't change:

Archie Bunker from the TV show All in the Family - always a cynic and pessimist

Example of an adult character who is "stuck" at the outset, but grows by the end of the story:

Macon Leary from The Accidental Tourist - becomes "unstuck" and more independent

So, you have to do what works for your story and makes sense in the overall plot scheme.

As they say, "change is the only evidence of life." So as a rough, general rule, it's a good idea to have character development.

As well as being an editor, I'm a screenwriter, and protagonist change is often stressed as essential in films to keep an audience interested.

But it depends on the type of story and character. If a character is interesting enough, and the point of the story includes that they don't change, then don't force them to.

There are no infallible rules about storytelling.

Querying can be emotionally challenging and overwhelming for authors. Once you're in it, you're amongst a sea of probably tens of thousands of other authors at the same time, and there are, of course, only so many agents and agencies out there. Truthfully, the odds are not great; an agent will sign only about 1-3% of the authors they come across in their queries. This is why the query must be in tip-top shape: a query's only job is to make the agent curious enough to ask for pages. Then, they have to fall in love with the pages (the writing and the story, which are two different things) and have a vision for it in the current market.

If you go into it with the right mindset, it can make it easier. Expect to receive many passes; it's inevitable in 99.9% of cases. Your story isn't for everyone; no one's is. And there are so many reasons an agent might pass. Try not to take it personally; if they pass, then they were not the agent for you. You have to have thick skin though. Not every agent will reply, and if they do, they may give feedback or a reason they're passing or they may not. It's hard not knowing, but there's not much you can do about it. Agents are not paid for the time they spend on queries, and their top priority is the clients they already have, so unfortunately, queries often fall to the bottom of the priority list. And because we receive so.many.queries, it's very difficult to stay on top of them all. We simply don't have the time to respond to everyone. All you can do is do your best; ensure your query is spectacular so that it stands out, your pages are spectacular so agents see it as ready or nearly ready for submission to publishers, and research the agents and agencies first so you know you're shooting your shot with the most appropriate people in the industry. Follow their submission guidelines, don't cheat, and be friendly and professional. Get several pairs of fresh eyes on your query so you know it contains all the necessary elements (and doesn't contain anything that shouldn't be in it) as well as your manuscript, and make sure everything is ready before you begin querying. Being prepared says a lot about your work ethic, which is important to agents as well

It sounds cliche, but the only difference between those who find representation and those who don't is that the authors who found representation didn't give up. It takes patience, persistence, and perseverance. And it may not happen with your first completed manuscript, or even your second or third--but if your goal is to find an agent and be traditionally published, keep going. Keep learning, keep trying, keep connecting with other writers and industry pros. You've got this!

Don't be afraid to tear up your query letters and start again. Be aware of the time of year -- you may be going 24/7/365 but agents and publishing houses don't do that. Check out Writer's Digest articles on query letter writing and examples of winners and losers. Check out Query Shark. Understand the different agent types and editors at small presses -- different query styles may be required. Send queries out, mark the calendar 4 weeks from that date, and forget about them until then.

Query letters are not a sales letter about you -- you love your book, your letter needs to make anyone want to love your book as well. :O))

Check out writing blogs/websites such as those of folks like Anne R Allen or Janice Hardy -- or any author you admire -- their tips on query letters may include something you've never considered.

Start your next book... c'mon! You might be surprised what's waiting to pop outa your head!

Querying is so tough these days! There's more agents than ever before, but yet imprints are folding, combining, etc. so the number of projects being sold hasn't increased, making it harder to catch an agent's eye.

There may be any number of reasons you're not getting full requests--your query letter doesn't capture the unique quality of your book making it stand out, your first pages fall flat and don't pique the agent's interest, or, quite simply, the agent isn't interested in your characters or plot. And there's nothing you can do about that last one. Every book isn't for every person. Every agent has meh topics they rather not read about. If an agent isn't into mermaids, they're unlikely to request a full from a query that describes a book about mermaids. That query was never going to land a full, and there was absolutely nothing about the query or your writing that could have changed that.

So, concentrate on what you can control and push aside the rest. Querying is not a comment on your worth as a human or as a writer. Publishing is a fiesty marathon. If your current project isn't getting bites, write the next thing. You'll improve with each project. Trust that the stars will eventually align when your idea and words will pack a punch. How can you make your project stand out as unique? What tropes can you put a spin on? Create characters we can't help but root for. Lean into what you--your background, your hobbies, your experience, can bring to a project that springs it to life in a way that can't be replicated.

But above all, know that it's not just you--the struggle is real for many, and the only thing you can do is simply keep writing.

Don't lose faith!

I know that's easier said than done but try not to let rejections get you too demoralized. Most best-selling authors had the same struggle and likely went through many rejections before securing a deal. Unfortunately, it's all part of the process.

If you are getting form rejections then it is likely you are either choosing the wrong agents or there are issues with your query pack, so make sure you put as much work as possible into researching who you want to pitch to and refining your documents. Don't rush into querying. This is your one shot to catch the attention of that agent, so you want to get it right.

If you are getting requests for your full manuscript then you are likely on the right track and have a good submission pack. Don't be afraid to ask for feedback, but agents are very busy so you may not always get it.

I would also encourage you to keep writing while querying. Authors often get their second or third book picked up instead of the first one they queried, so don't lose hope. If you are tired of the rejections then use any feedback you have been given to write something new. There are no guarantees, but keep working at it and hopefully you will find your perfect agent eventually.

Finally, be kind to yourself. A rejection doesn't mean your book is rubbish - it just means that the agent can't see a place for it at this point in time. Many, many, many brilliant books have been turned down initially and then had great success when they found the right home. Don't give up hope.

The baseline requirement is that you need to address your query to the agent's name; "Dear agent" letters sent out as shotgun emails to five hundred agents will get rejected quickly. Beyond that...my usual suggestion is to offer one or two sentences at the beginning of the query letter showing that you've done your homework. This can be as simple as "I saw on MSWL that you're looking for more multi-POV novels," or "I saw on your agency website that you're interested in cozy fantasy." This shows that you're respecting the agent's time by making sure that what you're sending is aligned with their tastes at the most basic level. Agents know that you're probably querying about ten people at once, and they're receiving perhaps hundreds of queries a day, but the personalization makes it a little more likely they'll spend some extra time looking at yours.

I think a personalized query letter achieves the same aim as a piece of handwritten, personalized mail: it shows the sender has put thought and intention into what's enclosed.

As a small-press publisher, I certainly understand that manuscript submitting is a numbers game. Authors have every right to query their manuscripts to dozens of publishers and agents simultaneously. But no one wants to be treated like a row on a query tracking spreadsheet! Dear Sir/Madam, to whom it may concern, generic language about the submission's fit within my company's catalog of publications: these tactics suggest the author is taking a slapdash approach to submitting.

Conversely, when a submitting author can demonstrate their familiarity with my press, it comes as a huge relief to me. Of course, I don't expect every submitting author to buy a copy of book I've published before firing off their manuscript. But if an author can reference a title from my manuscript wish list, or if they address me by name, or if they can say in 1-2 sentences how their book aligns with my company's mission statement, then that goes a long way!

Because many authors want to increase their chances of representation, most send out lots and lots of queries letters all at once using some form of template (Dear Agent, I'm seeking representation...). While using a template like this does cut down on time, some agents get hundreds, if not thousands, of query letters a month! What's a way you can stand out from that? Personalize the query.

Agents want to know that you, the author, not only have a good book worth pitching, in the genre the agent works in, but that you have put in the time and effort to learn why they specifically would be a good fit for your work. An author-agent partnership is not a one and done thing, but ideally and ever-growing relationship that starts by being a good fit for one another. And so, showing that you researched them by personalizing a query expresses that:

1. You have done your research for that particular agent, and so take your craft seriously
2. You know what they represent so are pitching them in a genre they actually represent
3. Have likely researched their other clients so you have a reasonable idea of whether you might fit well with them.

On top of this, if you meet an agent at a conference or writing-related event, mention that! Again, agents get many, many queries, so if they ask you to send them stuff, or you spoke to them, remind them where you met them, and any relevant details related to your work you might have discussed. This will hopefully set you off on the right foot and be the start of a wonderful author-agent relationship.

Personalizing a query is a great way of letting agents know that you've researched their tastes and interests, which also conveys that you're taking a professional, well-considered approach to querying and the industry itself. When you let an agent know that you've chosen them specifically because of the clients and/or books they represent, because of their online presence, or because of an interview they've given, it shows them you've taken the time to learn who they are--which also means it's likelier that you're sending them a manuscript suited to their tastes.

Although writing queries is more an art than a science--and it can often feel like screaming into the void--if you take the time to carefully research potential agents, editors, and publishers, then your odds of approaching an appropriate one for your project (i.e., someone who would be interested in it), are far higher. Being able to demonstrate that research by being able to personalize your query will make you stand out in a good way. Conversely, if you send out copycat queries blind, you're less likely to wind up in front of someone who will resonate with whatever you're pitching. "Personalizing" includes using correct basic info (name, title, company, etc.), but also appealing to relevant aspects of the recipient's professional and personal background, from the types of books they typically represent (or what kinds of articles they publish if you're pitching mags) to whatever hobbies they may have that dovetail with what you're writing about. In other words, personalizing can't possibly hurt and might just help.

It’s like junk mail vs. "real" mail. When I get an envelope with an advertiser's name, I usually toss it aside, thinking I don't need a new garage floor or whatever they're selling. But when I get mail addressed to me personally from a real person, I'm much more likely to want to know what they have to say.

While some advisors might suggest that one generic query letter is appropriate for all agents, my best advice is that you personalize every query you send. This means researching every agent, finding out what authors and books they have represented, and then using at least one "comp" (comparative title" / "competitive title") on that agent's (or their agency's) roster. When you do this, the agent knows that:

1. you are querying them because you're familiar with their work and you know your book is a fit for them,
2. your book suits their agency's roster, and
3. you have done your homework.

When writing a query letter, follow the agent's submission guidelines precisely. For example, an agent named Jane Smith might request on her submissions page that she be addressed as "Ms. Jane Smith." So, if in your salutation, you write, "Dear Jane" or "Dear Ms. Smith," that is instant notification to the agent that you haven't read (or haven't followed) her submission guidelines. Will that mean you won't follow her directions if she signs with you? Agents get literally hundreds of queries every month. Don't give an agent a single reason to reject your query.

Some agents care a lot about personalized query letters, and other agents accept that some authors prefer to send out generic letters. Since you don't know which agents have which preferences, it makes sense to personalize all your query letters.

Happy querying!

In my experience, personalizing a query letter shows a few things:

1. Your interest in working with that particular agent. This increases their interest in your project and your agent-author relationship.
2. Your knowledge of the market and targeted marketing. As a writer you don’t need to be a pro at this, but showing your ability to promote yourself displays valuable skills that can be used later for things like author events.
3. Your research skills. Showing that you are good at finding the right agent showcases your research skills which may come in handy for your work, particularly if it’s nonfiction.

Hope this helps!

It shows you've done the hard work of doing research and aren't submitting to just anybody. It adds a personal touch and hopefully will make you stand out from the rest of the crowd. If you can reference a book or two represented by the agent, and compare it to the book you have written, you will bolster your argument for approaching this particular agent. This research takes time, but I believe that, in the end, it can make a difference in helping your query stand out.

The baseline requirement is that you need to address your query to the agent's name; "Dear agent" letters sent out as shotgun emails to five hundred agents will get rejected quickly. Beyond that...my usual suggestion is to offer one or two sentences at the beginning of the query letter showing that you've done your homework. This can be as simple as "I saw on MSWL that you're looking for more multi-POV novels," or "I saw on your agency website that you're interested in cozy fantasy." This shows that you're respecting the agent's time by making sure that what you're sending is aligned with their tastes at the most basic level. Agents know that you're probably querying about ten people at once, and they're receiving perhaps hundreds of queries a day, but the personalization makes it a little more likely they'll spend some extra time looking at yours.

I think a personalized query letter achieves the same aim as a piece of handwritten, personalized mail: it shows the sender has put thought and intention into what's enclosed.

As a small-press publisher, I certainly understand that manuscript submitting is a numbers game. Authors have every right to query their manuscripts to dozens of publishers and agents simultaneously. But no one wants to be treated like a row on a query tracking spreadsheet! Dear Sir/Madam, to whom it may concern, generic language about the submission's fit within my company's catalog of publications: these tactics suggest the author is taking a slapdash approach to submitting.

Conversely, when a submitting author can demonstrate their familiarity with my press, it comes as a huge relief to me. Of course, I don't expect every submitting author to buy a copy of book I've published before firing off their manuscript. But if an author can reference a title from my manuscript wish list, or if they address me by name, or if they can say in 1-2 sentences how their book aligns with my company's mission statement, then that goes a long way!

Because many authors want to increase their chances of representation, most send out lots and lots of queries letters all at once using some form of template (Dear Agent, I'm seeking representation...). While using a template like this does cut down on time, some agents get hundreds, if not thousands, of query letters a month! What's a way you can stand out from that? Personalize the query.

Agents want to know that you, the author, not only have a good book worth pitching, in the genre the agent works in, but that you have put in the time and effort to learn why they specifically would be a good fit for your work. An author-agent partnership is not a one and done thing, but ideally and ever-growing relationship that starts by being a good fit for one another. And so, showing that you researched them by personalizing a query expresses that:

1. You have done your research for that particular agent, and so take your craft seriously
2. You know what they represent so are pitching them in a genre they actually represent
3. Have likely researched their other clients so you have a reasonable idea of whether you might fit well with them.

On top of this, if you meet an agent at a conference or writing-related event, mention that! Again, agents get many, many queries, so if they ask you to send them stuff, or you spoke to them, remind them where you met them, and any relevant details related to your work you might have discussed. This will hopefully set you off on the right foot and be the start of a wonderful author-agent relationship.

Personalizing a query is a great way of letting agents know that you've researched their tastes and interests, which also conveys that you're taking a professional, well-considered approach to querying and the industry itself. When you let an agent know that you've chosen them specifically because of the clients and/or books they represent, because of their online presence, or because of an interview they've given, it shows them you've taken the time to learn who they are--which also means it's likelier that you're sending them a manuscript suited to their tastes.

Although writing queries is more an art than a science--and it can often feel like screaming into the void--if you take the time to carefully research potential agents, editors, and publishers, then your odds of approaching an appropriate one for your project (i.e., someone who would be interested in it), are far higher. Being able to demonstrate that research by being able to personalize your query will make you stand out in a good way. Conversely, if you send out copycat queries blind, you're less likely to wind up in front of someone who will resonate with whatever you're pitching. "Personalizing" includes using correct basic info (name, title, company, etc.), but also appealing to relevant aspects of the recipient's professional and personal background, from the types of books they typically represent (or what kinds of articles they publish if you're pitching mags) to whatever hobbies they may have that dovetail with what you're writing about. In other words, personalizing can't possibly hurt and might just help.

It’s like junk mail vs. "real" mail. When I get an envelope with an advertiser's name, I usually toss it aside, thinking I don't need a new garage floor or whatever they're selling. But when I get mail addressed to me personally from a real person, I'm much more likely to want to know what they have to say.

While some advisors might suggest that one generic query letter is appropriate for all agents, my best advice is that you personalize every query you send. This means researching every agent, finding out what authors and books they have represented, and then using at least one "comp" (comparative title" / "competitive title") on that agent's (or their agency's) roster. When you do this, the agent knows that:

1. you are querying them because you're familiar with their work and you know your book is a fit for them,
2. your book suits their agency's roster, and
3. you have done your homework.

When writing a query letter, follow the agent's submission guidelines precisely. For example, an agent named Jane Smith might request on her submissions page that she be addressed as "Ms. Jane Smith." So, if in your salutation, you write, "Dear Jane" or "Dear Ms. Smith," that is instant notification to the agent that you haven't read (or haven't followed) her submission guidelines. Will that mean you won't follow her directions if she signs with you? Agents get literally hundreds of queries every month. Don't give an agent a single reason to reject your query.

Some agents care a lot about personalized query letters, and other agents accept that some authors prefer to send out generic letters. Since you don't know which agents have which preferences, it makes sense to personalize all your query letters.

Happy querying!

In my experience, personalizing a query letter shows a few things:

1. Your interest in working with that particular agent. This increases their interest in your project and your agent-author relationship.
2. Your knowledge of the market and targeted marketing. As a writer you don’t need to be a pro at this, but showing your ability to promote yourself displays valuable skills that can be used later for things like author events.
3. Your research skills. Showing that you are good at finding the right agent showcases your research skills which may come in handy for your work, particularly if it’s nonfiction.

Hope this helps!

It shows you've done the hard work of doing research and aren't submitting to just anybody. It adds a personal touch and hopefully will make you stand out from the rest of the crowd. If you can reference a book or two represented by the agent, and compare it to the book you have written, you will bolster your argument for approaching this particular agent. This research takes time, but I believe that, in the end, it can make a difference in helping your query stand out.

Nobody responds well to criticism! Nor should you! An editor should offer you a critique, not criticism. Admittedly, it can be hard to tell the difference when on the receiving end. If, however, you feel that an editor is telling you that something is bad, as opposed to how it can become better, that's a problem.

Solution: Ask for an editing sample before making a hiring decision. Sometimes I'll send a few pages from a previous project (with the author's permission) but ideally, if time permits, I'll edit a couple pages from the sample the author included in their Reedsy request. After all, my work product isn't a finished book; it's the changes and comments I make to the manuscript. Testimonials are great but without this sample, you'd be taking the quality of my work product on faith.

Am I giving away product? I guess, but I've been known to assemble a multi-course feast from Costco samples, so putting a few minutes into an editing sample seems like a fair way of paying it forward.

I completely understand—receiving criticism on something as personal as your writing can be tough, and finding the right editor makes all the difference. To start, you can request a sample edit, which lets you experience how they deliver feedback firsthand. This gives you a chance to see if their approach feels constructive, respectful, and supportive, or if it might come across too harshly for your comfort. I’d also suggest having a candid conversation with potential editors; let them know that criticism can be challenging for you and ask how they handle sensitive feedback. A good editor will be receptive, flexible, and reassuring, offering explanations and encouragement tailored to your needs. Reading testimonials from past clients can also provide insight into an editor’s style—look for comments that speak to their empathy, collaboration, and communication skills. Ultimately, finding someone who respects your creative vulnerability and is committed to helping you grow will transform what can feel like a nerve-wracking process into a genuinely rewarding partnership. It’s about finding someone who not only edits but empowers.

Feeling uneasy about feedback is completely natural—writing is personal, and every writer responds differently to critique. The key to a great editorial partnership isn’t just skill, but communication that fits your needs.

To find the right editor:

1. Ask for a sample edit—but don’t just look at the changes. Pay attention to how feedback is phrased. Does it feel constructive and encouraging? Does the editor offer solutions rather than just pointing out issues?
2. Look beyond testimonials. Read the Overview section of a prospective editor’s Reedsy profile to get a sense of their tone and personality. If their advice resonates with you, their feedback likely will too.
3. Be up front about your concerns. A good editor should empower you, helping you feel closer to your goals and more confident in your voice. If critique feels overwhelming, communicate that early on. The right editor will adjust their approach to make feedback clear, actionable, and encouraging.

As an editor, I focus on making feedback practical and supportive, helping writers refine their work while preserving their voice.

If you'd like to see how we’d work together, I’m happy to provide a sample edit and discuss your preferences to help you decide if I’m the right editor for you.

I give free samples so you can see my commenting style before you decide if we are a good fit. Be assured, my intention is to advocate for readers and help your words reach your audience smoothly; so my communication with you will always respect your position as the author.

In your brief, explain this about yourself, and ask for sample edits. When you receive a sample, if a particular suggestion is troubling, ask the editor a good question about it.

Let's say the editor changes your dialogue tags like "remarked" or "sighed" or "countered" to "said" across the board.

Write to them saying, "I thought it was best to avoid repetition and use more descriptive terms. Can you explain why you recommend 'said' instead?"

A good editor will have a good-humored, honest, helpful, and encouraging response, like this: "Yes, it seems like it would be better to use varying terms, but 'said' and 'asked' just melt into the background and highlight what the character is actually saying. Sure, sometimes you want to use other terms for variety, but use them sparingly and when you really need them."

If you don't respond well to criticism, buckle up! The publishing life might not be the best fit for you as the criticism never ends (and I say this as someone who's been writing and editing professionally for thirty years! *sigh*).

That said, if you are worried about being critiqued (and we all our--writing is so vulnerable!), it's important to be up front about this. Let the prospective editor know that you are sensitive or new or feeling insecure. I believe most editors here are kind and striving to only offer "criticism" with the best intentions (and "sandwiching" them in all sorts of kind words!). But by being up front, you can gauge the editor's response. If an editor is cold in their reply, they're probably not the one for you. If the editor tells you (as I would!) that while critique is part of becoming a better writer (and certainly part of publishing books!), I want writers to know what I love about their work and that any criticism I offer is solely to make their project even better.