How to Write about BooksWriting about books
Writing a beautiful storybook
Allan Ahlberg to Dr. Seuss, storybooks are important because they are the basis for your child's literacy - and you never know what a big deal your own story can make. We have picturesque figures and phrases in our minds as we grew up with them, even passing them on to our own orphans.
This creates a timeless quality in the children's books, which makes them great to write - and a design for a storybook is a design like nothing else. Continue reading for useful hints on how to make a storybook that kids will like ( and that could be just as much loved in the next few decades).
Don't miss to fill your storybook with living personalities like the Engormous Cocodile, Winnie the Witch, the Highway Rat, Sam-I-Am, Sir Charlie Stinky Socks or Spot the Dog. Let's say you're writing about a pup. A giant alligator that wants a kid for supper (The Panormous Crocodile). This funny postman encounters fairy-tale people.
The majority of kids recall icons like the cat in the cap as they are growing up long after all the rhythmical subtleties have disappeared from the head (as important as the rhyming of Dr. Seuss or Julia Donaldson is here). Attempt to give your character something special - a cat in a cap, Beatrix Potter's Peter Rabbit with his blu coat, aliens who like ( and wear) panties, or the more uncommon fairytale figures from Roald Dahl's Revolting Rhombus.
Build living personalities to stay in the heads of the kids they want to go back to. When it comes to literature, only what you have just wrote is superfluous with regard to textbooks, but this does not apply to illustrated books. There was a shadowy road in a shadowy city, and a shadowy road in the shadowy road, and a shadowy brown building in the shadowy road, and some shadowy staircases in the shadowy road, and a shadowy stairway down the shadowy staircase, and a shadowy, shadowy basement, and three frames in the shadowy, shadowy basement!
They tell us (and want to know) what they eat more and more and what they eat every single meal until the belly aches. Rhymes in storybooks means extra maintenance and work - and you can still make beautiful rhythms in your rhymes without rhymes - but rhymes are still valuable if you are self-confident or just ardent.
Using a rhyme named "iambic pentameter" in poetics, this means that you practice practicing to create five "iambic feet" in a series - this is a series of words that amount to ten words, but are alternate accentuated and unaccented, like "beats" of a drums or the soundworld.
If you are not sure, please rhyme with other storybooks to get inspired and hear your own work loud. Rhyme or not, test your history to see if it has the right sound. If you are looking to explore this, Stephen Fry's The Ode Less Travelled is a good one.
Or you can use a copy of The Poet's Manual and Dhyming Dictionary to help you. Nosy Crow has published a great rhymes related to rhymes in children's books, which is also interesting to them. Writing "bad guys" and more dark things in storybooks is the best way to make those things funny.
The Enormous Cocodile is a strange present from Roald Dahl, about a crossed alligator looking for a tasty kid to have dinner with (before being beaten in the sun). The only reason Roald Dahl's alligator is amusing is because Roald Dahl draws it as an objet of pleasure. He is hated by the remainder of the forest, and after the croc has found the kids, alternately, rainbow creatures appear to caution them.
Eventually the bull throws the cock of the alligator into the heavens - where it is crushed like a salami. Though Roald Dahl's alligator is still'evil', the alligator becomes a bad guy we can smile at. Skelets (Funny Bones), Witch (Winnie the Witch), Monster (Where the Wild Things are) or Vampire and Werewolf (Well, I Never!) are absolutely'describable' in storybooks.
You wonder if you need to create your own illustrated textbook? In many cases, a textbook is a joint textbook between author and illuminator. There is no need to be an illuminator to write a textbook and a good publishing house can put you in touch with the right artists to bring your stories to live.
Remember that you can also write a description economically (more writing space for your story), where you know that images will also convey detail - a sensible line of words for your storybook should not exceed 700 words - but it should be enough to give the illustrator an understanding of what they need to represent.
Stay informed with the latest from our storybook course and watch our Pippa Goodhart interviews. And if you need further editing feedbacks for your photo books, you've come to the right place. Merry picture-book pens!