Writing a Children's Book and getting it PublishedWrite and publish a children's book
Hazardous Items and Horrible Facts (Children's Books)
MEYTH: Children's literature is much simpler to read than adults'. FUTURE: Good writing is hard no matter how old the readers are - and kids are worth the best. MEYTH: Image guides are the simplest children's guides to use. FUTURE: Textbooks are perhaps the toughest, because they require succinctness, simplification and a visible mean.
A child book author has to start writing for journals. FUTURE: Writing for journals can be very educational, but in some ways it is different from writing a book. Even if a book-reader' s attention, he won' be selling your work. Well, if you' re targeting a book, you might as well join in.
PHYTH: Children's tales should be taught. FUTURE: Good children's tales do not lecture. Instead, they are educating for realities, researching important topics - as well as good storytelling for adults. And since my kids/neighbours/students like my tale, she'll make a great book. FUTURE: Your children/neighbours/students may only like it because it is yours or because they like the read.
That doesn't make any impression on the writers. The rhyming will give my tale more charm. FUTURE: Rhymes are particularly difficult to make, so journalists are skeptical about them. I need to find an illuminator for my work. FUTURE: If you are not an artiste yourself, the writers will want to bring you together with professionals of your own choosing.
I need an operative to get my work out. FUTURE: Although it has become more difficult to buy children's literature without an editor, you can still do it - and get an editor can be as difficult as getting a publish. It is more useful and available if you have been selling them yourself.
My odds are better when I apply to small publishing houses. FUTURE: Not if your book is not specialised. Minor publishing houses publish fewer volumes and often have to be careful in their selection. Big publishing houses can occasionally take a risk. PHYTEC: Book writers don't like repeat subscriptions. FUTURE: Despite what is officially stated, most journalists no longer suffer discrimination.
When I submit my idea, I need to keep it safe from thievery. FUTURE: Child publishing houses rarely steal. There are plenty of good reasons why authors are more interested in identifying authors who can use them. PHYTH: The longer it is for a journalist to answer, the more interested they are in my work. FUTURE: Your subjection could just as readily get misplaced or sit in a heap without being read.
It may take some publishing houses half a year or more to look at your history - or more than a year to overrule it. Other people don't react at all to tales they don't want. As soon as I sell my first book, the same publishing house will buy more. FUTURE: Maybe, maybe not.
Especially text in photo books will probably be evaluated on an individual basis, unless you are very succesful. As soon as I sell a book, my writing will back me up. FONALITY: Only a few published authors are fully endorsed by their writing. The majority work in normal positions and work in their free hours. Other people complement their writing with performances and classes.
If I' m a good writer, I' m sure to be successful. FUTURE: Good writing must be combined with aggressiveness and persistence in your advertising. Otherwise you may never find an editors who takes care of your work enough to make it public - or an audiences who care enough to do so.