Tag Archives: children’s fiction

Resources round-up: Children’s books

CIEP guides and resources

Things to consider when writing or editing a children’s book are much the same as when writing or editing for adults: follow plain English principles, support self-publishing and make the text as effective as possible via developmental editing, whether it’s fiction or non-fiction. Search for relevant posts on our blog using the keywords ‘children’s books’ to find advice on sensitive language, age appropriateness and more.

Getting to know the market

If you want to write or edit children’s books, the best place to start is by reading them. The classics you remember from your childhood have stood the test of time for a reason, but the market – especially regarding children’s preferences – has changed a lot over the past 30 or 40 years.

To find out what kids are reading now, explore sites such as Achuka, LoveReading4Kids and ReadingZone, which all feature reviews of the latest titles, from picture books to young adult (YA) novels, as well as author interviews and other insights into the market.

If you’re looking for specific data on reading and publishing trends, download the School Library Association’s (SLA’s) research on what children are choosing to read and how they make that choice. Renaissance Learning produces a free annual report called ‘What and how kids are reading’ (registration required for access), which tracks pupils’ reading habits over many years. The research reveals that humorous authors Jeff Kinney and David Walliams continue to top young readers’ popularity charts – despite some adults’ disapproval!

But remember that in order to get into the hands of children, books also need to appeal to gatekeepers such as librarians, teachers and parents. To this end, the freely downloadable magazine Books for Keeps has been reviewing books and reporting on children’s literature for nearly 45 years over more than 260 issues. You can access thousands of reviews via its website – a useful tool for gauging what adults value about the books they make available to children.

BookTrust UK promotes the importance of books at all stages of life. Parents may know of it through the free Bookstart programme for babies and toddlers, but its website provides comprehensive resources for writers as well. Regular research and evaluation of BookTrust projects keeps content relevant for everyone involved in producing reading resources for children. The Scottish Book Trust offers similar programmes, including Bookbug, for babies, toddlers and preschoolers, and useful resources for writers and publishers.

Support for writers, editors and publishers

The Children’s Writers’ & Artists’ Yearbook is regarded by many as an indispensable guide to writing and publishing for children. Covering fiction, non-fiction, poetry, screen, audio and theatre, self-publishing and traditional publishing, it provides practical advice for all stages of the writing and illustration process.

The Writers & Artists website is itself a treasury of (free) advice and resources on the processes of writing, illustrating and publishing, and the book Writers’ & Artists’ Guide to Writing for Children and YA: A Writer’s Toolkit provides further guidance, including on digital publishing.

Anyone involved in producing children’s books should consider joining the Society of Children’s Book Writers and Illustrators (SCBWI), a global community for children’s book creators. Its UK chapter runs Words and Pictures, which is full of practical resources for writers, illustrators and editors that, in fact, anyone with an interest in the process of making books can spend a happy afternoon browsing.

Children’s book prizes abound, but here we’ll highlight the Branford Boase Award because it recognises not only the winning debut writer but also their (in-house) editor.

Bookfox Press has a useful ‘how to’ guide for those entering the world of children’s book publishing, covering the whole process from initial idea to finding an agent. Kindlepreneur’s guide is more market focused. We’re pleased to note that both guides emphasise the importance of using editors.

Encouraging diversity

It’s important that children (and adults, for that matter) see positive representations of people like themselves. Inclusion has improved significantly in recent years, thanks in part to publications such as Pen&inc., a magazine promoting diversity in books produced by the Library and Information Association (CILIP), and organisations such as Black Books Matter UK, which champions diversity in books and stories that represent Black history and culture.

There’s support for writers and self-publishers too. The Jericho Prize promotes high-quality children’s picture books by Black-British authors that feature authentic Black main characters. Its website features a range of resources to help authors through the production process, including a video explaining the proofreading and formatting process. Meanwhile, Megaphone Writers is a mentoring scheme for people of colour in England who want to write novels for children and young adults.

Inclusion is also important for the one-in-six children who have special educational needs or disabilities (SEND). BookTrust offers advice for writers, illustrators and publishers on good practice for showing disability in a positive and natural way. Significantly, it advises that ‘disability doesn’t need to be a key part of the plot – and certainly not a punchline’. In practical terms too, a ‘book’ doesn’t have to be a flat, printed document – as well as standard audiobooks, organisations such as ClearVision and Living Paintings provide books that provide access to the visual world via touch and sound.

Producing picture books

Yes, some books for adults do have pictures but those for children need a particularly nuanced partnership between the words and images. Successful and timeless examples are revealed in Penguin’s list of classic picture books, and People of Publishing’s top tips for authors and illustrators sheds more light on developing stories and portfolios that sell.

Creating a picture book is a complex process, as authors Alan Durant and Olivia Hope explain. The publishing process can take a surprisingly long time and the content needs to be held to as high a standard as any other type of book. For some beautiful and evocative examples of picture-book art, lose yourself in the wonderful Picturebook Makers gallery.

Ensuring age appropriateness

At every stage of the process, editors and other readers will be checking that the text is suitable for the target audience. As Miriam Laundry Publishing points out: ‘If you’re writing for ALL children, you’re not writing for ANY children.’ The post includes examples of age categories (although it sounds like an American term, ‘middle grade’ is also used in the UK to refer to books for pre- and early teen readers). Red Wolf Press describes where you can find this information about books that have already been published – more useful sources of research.

This blog post from Inky Frog Editorial looks at examples of contemporary middle-grade and teen fiction to underline the importance of knowing your audience.

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.
Find out more about:

Photo credits: header image by Annie Spratt, boy reading by Michał Parzuchowski, teenager reading a book by Seven shooter, all on Unsplash.

Posted by Belinda Hodder, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

The importance of page turns in picture books

Using the picture book format

The standard picture book on the market these days is 32 pages. This includes all front and end matter, which often takes up a minimum of three pages for title page and copyright information. The text itself is usually around 500 words – it’s a lot of story to pack into a small amount of space, and that’s why the format of a picture book matters so much.

Whatever the production stage, but particularly when developmental editing a picture book, an editor needs to think about the book in spreads – the two pages that face each other compose one spread. This is essential when commissioning artwork since the illustrator will need to know if they are illustrating a single page or an entire spread. Picture books can have a mixture of artwork sizes throughout, so they could take up an entire spread, a single page or even just part of a page that features several illustrations. These all aid with the pacing of the story. But, along with the pictures, we can also use the format of the book to help pace and build tension in the story.

With each turn of a page, you can completely change the scene or tone. It’s almost like a lift-the-flap book where you reveal something to the reader. Imagine the story being read aloud to a child and pausing before turning the page to ask, ‘What do you think is going to happen now?’ Or the way a scene may be cut in a film or TV programme where something is shown that contradicts what was just said for humorous effect. Or even panels in a graphic novel where you build up to something big that needs a whole page of its own.

How to use page turns

While most picture books today will use page turns to some extent, certain titles rely on this element for comedy, surprise or dramatic effect. One great example is the classic Rosie’s Walk by Pat Hutchins, which uses the page turns throughout the whole story for comedic effect. While Rosie the hen goes on a walk around the farmyard, a fox follows behind her planning to attack, only for the page to turn and the fox has a mishap that results in Rosie (unknowingly) escaping.

Unless the story fully relies on page turns, as in Rosie’s Walk, it’s more common to use these page turns for scene changes sparingly for greatest effect, usually around the climax of the story. For instance, the book I Want My Hat Back by Jon Klassen uses a page turn as Bear makes a realisation that yes, he has seen the hat he’s been looking for. The previous page leads to this with a ‘Wait a minute …’ moment, letting the reader know something big is going to happen once they turn the page. And then – page-flip – we zoom in on Bear’s face as his mood changes from sadness to rage, illustration turned from subtle tones to awash with red. The rest of the story hinges on this moment, which is why it’s vital to use every element a book offers (text, artwork and format) to build up to it.

Another popular page-turn technique in picture books is using the very last page of the book (which will be a single page that faces the inside of the cover) to add an illustration vignette to suggest what might happen after the story has ended. For instance, maybe you think a character has learned a lesson, but then the illustration suggests the same situation is about to happen all over again.

A great example of this final-page usage is Nine Lives Newton by Alice McKinley. At the beginning of the book, Newton the dog mistakenly reads an obscured sign and now believes that dogs have nine lives, setting him off to do all the things he had previously avoided doing – with a poor cat following behind trying to warn him (while using up its own nine lives in the process). By the end of the book, Newton learns about his error, and our cat friend thinks all is well again. But on that final page, a vignette shows Newton looking at another obscured sign leading to yet another misunderstanding, suggesting to the reader that the chaos is about to start all over again! It’s a great way to end the story with an unexpected laugh.

Adding page turns to a manuscript

It might be easy to see the strength of a clever page turn when you’re looking at published books, but how do you know where to put the page cuts in a manuscript that you’re working on? This can be done by looking for those moments in the text with a sudden scene change. Think of them as ‘3… 2 … 1 …’ moments, or points where someone reading aloud will add a lot more drama. For instance, consider where you might want page turns with the following sentences:

The little owl stepped up to the edge of the branch, puffed up its chest, stretched out its wings and leapt into the air. What a glorious feeling! it thought, just before it started to fall down … down … down … and then … CRASH! landed right in the middle of a bluebird nest.

Bear in mind that picture book pacing also means considering how many words are on each page. Effective page turns can mean that a page with a big reveal or sudden dramatic moment might have just a few words – or even no words at all. While there are many ways to split up a moment like this, an option could be:

(Spread 1 – left page)

The little owl stepped up to the edge of the branch, puffed up its chest, stretched out its wings and leapt into the air.

[illustration: full page of baby owl preparing to fly]

(Spread 1 – right page)

What a glorious feeling! it thought, just before it started to fall down … down … down … and then …

[illustration: page of vignettes showing owl at various stages: 1) happily flying, 2) realising it’s falling, 3) falling more, 4) properly tumbling down]

(Spread 2 – full spread)

CRASH! landed right in the middle of a bluebird nest.

[illustration: full spread of a dishevelled owl sitting unhappily among some perplexed bluebird chicks]

This is an exaggerated way to write this out in a manuscript and is rarely necessary, but it is sometimes helpful if a self-publishing author needs to commission the illustrations according to the page splits (because it will influence what the illustrator is commissioned to draw and how many illustrations are required). When working with authors who plan to submit the book to agents or publishers, then it’s better not to be as prescriptive with page numbers or illustrations, and to simply leave line breaks within the text to give an indication of pacing.

So if you’re getting into picture book editing, remember that there’s more to it than just the text and illustrations – there’s also the whole format of the book that you can play around with. That’s what makes editing picture books both challenging and exceptionally fun!

About Lisa Davis

Lisa Davis (she/her) is a children’s book editor and publishing consultant who specialises in making children’s books more inclusive. She has worked at major publishers in the UK including Simon & Schuster and Hachette, and in departments including editorial, rights and production. Before going freelance in 2018, she was the book purchasing manager for BookTrust, the UK’s largest children’s reading charity, which gives over 3.5 million books a year directly to children.

About the CIEP

Photo credits: child reading by Marta Wave on Pexels; Rosie’s Walk and Nine Lives Newton, Simon and Schuster.

Posted by Sue McLoughlin, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

Proofreading children’s books

Words, words, words (or not!)

With children’s books (fiction and non-fiction), there are often few words, but this is usually the very thing that can trip an editor up. You need to read, read and read again. I personally also like to strip the text out of the file sent by the publisher (usually a PDF) and put it into a Word file, then run a spelling and grammar check. This gives me an extra assurance other than my own proofreading.

Also, in lots of these types of books, there are words set in a decorative font. These should be triple-checked as this is often where spelling mistakes are made. This is especially true if the words have been illustrated rather than typed because they can be misspelled, or the original word from the manuscript can be left in as well as the illustrated word inserted.

It can be assumed (unless the brief informs you otherwise) that the copyeditor has assessed the text to ensure that the level of language is suitable for the target age range and also checked the factual information. However, if something does strike you as overly complicated/too simplistic/factually incorrect, then mark it up. Better to be over-cautious than not.

A picture paints a thousand words

If you have been tasked with proofreading illustrated books, there are certain things that you will be expected to check. One of the main ones will be reviewing the illustrations alongside the text.

By proofreading stage, the illustrations will have mostly been signed off by the designer and the in-house editor. However, the proofreader will be expected to mark up discrepancies, for example if the text reads that the girl held a silver cup in her hand, but the illustrator has coloured it gold. In cases like this, it will be up to the in-house team to decide whether to change the text or have the illustration re-coloured.

The proofreader will also be expected to review the readability of the text against the illustrations. It’s often too late for a font style to be changed, but should you feel that words will be difficult to read (for example on a dark sky background), then you can mark this for the designer. You should also mark up where words overlap illustrations or if there is an obvious gap, as text may have fallen out of a text box in the InDesign file or disappeared during conversion to PDF.

In slightly more complicated non-fiction and educational books, the proofreader will need to review photographs alongside the text, asking questions such as ‘Does the image suitably relate to the text?’, ‘Does it convey what the text is explaining?’ and (an especially important one for educational books) ‘Is there a suitably diverse range of genders, ethnicities, abilities and so on?’

Flapping about

Paper-engineered books (books with flaps, pull-out sections etc) are often tricky, as the flap or pull-out is presented to you on a separate page from the page it will be stuck to. Therefore, you will need to marry the two up and ensure that what’s on the front of the flap aligns with what will be under it. As it is two-dimensional, it is sometimes difficult to picture what goes where, especially in large, non-fiction titles with multiple pull-out and lift-up sections. Publishers will not expect you to print out the pages but on the odd occasion it might be helpful to do this if you are finding it difficult to visualise. A second screen can also be helpful in matching up the various engineered elements to their final locations.

Fancy doing some origami?

Activity books may seem, in principle, like a great fun editing job – and a lot of the time they are. However, there is a huge number of elements that need to be checked to ensure that the activities work and children (and adults) won’t get frustrated. (We’ve all been there, where there’s a piece missing or there’s no actual way out of a maze!)

The proofreader must do all the activities to ensure they work. Ask questions such as:

‘Do all the answers to the crossword fit the boxes?’
‘Are all the words present in the wordsearch (and have any naughty words crept in by mistake when it was generated)?’
‘Are there spots to place the stickers and are the stickers all on the corresponding sticker sheet?’
‘Are there definitely six differences between the two images in spot the difference?’
‘Do the origami instructions work?’

… and so on.

Think about time management

A children’s picture book or lift-the-flap book may only have 10–50 words so it would only take about 10 minutes to read. However, the amount of time needed to check the varying elements should be taken into consideration. An activity book might only have a few hundred words, but once the proofreader has checked that every activity works and everything is in place then this will increase the proofreading time estimate.

For the most part, publishers will set their own rate for proofreading work but if you are quoting for a job yourself then don’t work simply from the word count!

Time management is also important regarding how you spread your work out across a week. For example, you may wish to read a picture book two or three times, but over a few days in order to have a slightly fresher eye each time.

Finally, don’t forget the basics!

Checking that activities work and the paper-engineered sections are correct is important, but obviously shouldn’t be to the detriment of checking the basics. Things that so commonly cause problems such as headers, footers, page numbers, copyright information, author and illustrator names, and the title should all be factored into the proofreading time and given as much importance as the ‘fancy stuff’!

About Margaret Milton

Margaret Milton is a proofreader and project manager specialising in educational and children’s non-fiction books. She is a Professional Member of the CIEP and has worked in publishing in-house and freelance for over 15 years.

About the CIEP

Photo credits: header image by Karolina Grabowski, children reading by Mikhail Nilov, both on Pexels.

Posted by Belinda Hodder, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

A week in the life of a children’s fiction editor and proofreader

2 Replies

Becky Grace is a freelance children’s fiction editor and proofreader. In this post she describes her unconventional route into the industry and how an average week unfolds.

An unconventional background?

For 15 years I taught politics and sociology in a secondary school in Kent, until I decided it was time for a complete change of career. Considering my teaching specialisms it might have made sense to focus solely on editing and proofreading educational textbooks, but my time in schools – and my additional role as a literacy coordinator – had sparked a passion for children’s literature. With no formal background in publishing and editorial work, I set about retraining with the courses available through the CIEP and fiction-specific courses provided by other editors (Louise Harnby and Sophie Playle have some amazing courses in this area). At the same time I embarked on a masters in publishing.

Changing career and retraining in your forties is quite a daunting prospect but thankfully I wasn’t doing it alone. Quite coincidentally, my sister was going through her own career change and we found we were heading in the same direction. We set up a freelance editorial business with a focus on children’s fiction, and Inky Frog Editorial was born. Our specialisms complement each other perfectly: Jess works with picture books, early reader chapter books and middle grade novels; I focus on middle grade and young adult novels. It is a partnership that works well for us.

As someone completely new to the publishing industry, I honestly found the best thing to do was to throw myself into the CIEP and learn everything I could. I volunteered to coordinate my local CIEP group and have now joined the CIEP’s Learning and Professional Development Committee. From reading fact sheets and guides, to taking the courses and attending the conference (albeit virtually), I have immersed myself in the world of editing and proofreading.

Over the last few years of running the business, I’ve realised that there’s really no such thing as a ‘typical’ week, which is perhaps what I love most about my job. I’ve also discovered that I’m not as unconventional as I thought. Many of the editors and proofreaders I have spoken to have transitioned into this profession from a range of different careers. That’s the beauty of the colleagues I have worked with: everyone brings different experiences, specialisms and strengths to the work they do.

What’s different about proofreading and editing children’s fiction?

Unless you have children or grandchildren of a certain age, it might have been years since you last read a children’s book. Friends will often talk to me about the books they are reading with their child and these books normally fall into one of two categories:

Books the parent read as a child (Roald Dahl, Enid Blyton)
David Walliams

There are obviously exceptions to this rule – and for that we are grateful – but the average adult’s knowledge of today’s literature for children is rather limited. Children’s books today are so vast, diverse and exciting; we are living in a new ‘golden age’ of children’s literature. There is obviously a great deal to be learned from reading the ‘classics’ of our youth (Frances Hodgson Burnett, Philippa Pearce, Alan Garner, LM Montgomery, to name just a few) but the market for children’s books is so very different today, as are the children themselves. Knowing today’s children and the books that they read is vital for any writer of children’s fiction. The first and most important advice we give to anyone we work with is this: read.

At Inky Frog Editorial, Jess and I work with writers who are polishing their manuscript before sending it to agents (or reworking it if the first round of querying wasn’t successful), as well as writers who want to self-publish. Just as with adult fiction, when editing a children’s book we will look at theme, genre, plot, structure, pace, characterisation, dialogue, point of view and more. However, with children’s books, there are additional factors that writers need to be aware of. Does the writer understand the huge difference between books for toddlers, books for early readers, books for tweens, books for teens and books for young adults? This difference shows itself not just in age-appropriate language, but also in age-appropriate content. Do writers understand the mixed market for children’s books? Who are they targeting: the children, their parents, their teachers, school librarians? Is the writer aware of how children’s books have changed since they were a child?

A ‘typical’ week

The week starts with an email from a CIEP colleague who has found my name in the IM Available list (a brilliant resource). She has been contacted by a potential client who is looking for someone to provide a light-touch edit and proofread of their picture book, but the editor’s own calendar is fully booked. Now, picture books are most definitely out of my comfort zone. It would be incorrect to think that editing or proofreading a picture book is easy. Absolutely not. With a children’s picture book – especially one that is being self-published – there is a duty on the part of the author and editor to create a book that is age appropriate in terms of content, tone and language; there should be an understanding of the composition of the page, looking at the relationship and interaction between words and pictures and the use of space on the page. And don’t even get me started on picture books that rhyme! (Or are meant to rhyme.) But perhaps the hardest thing to master with a picture book is telling a full, rounded, engaging story in under a thousand words. With her masters in children’s publishing, Jess is perfect for a job like this. I make the introductions and hand the project over.

I then turn to a scheduling discussion with one of my regular clients, an author of fantasy adventure middle grade novels. The second book in the current series is due to be ready for a proofread in the next couple of weeks and I need to check that we are still on course for the dates I have put aside. If my workflow needs to be amended it will be helpful to know this in advance. This client is self-publishing rather than pursuing the traditional publishing route, and we have consulted with her previously on matters beyond editing and proofreading, such as writing a series, cover design, marketing and promotion, and more.

My next meeting of the week is an interesting one. A word-of-mouth recommendation from an existing client, this is a new writer who is part-way through a crime procedural novel. Crime procedural? I hear you ask. That’s not for children! Correct. This client is indeed writing for adults (although children definitely love a good murder mystery) and while we market Inky Frog Editorial specifically at writers of children’s fiction, I also work on adult fiction. The client isn’t hiring me for a full edit or proofread, she is instead looking for some advice and guidance on her story ideas. Her goal is to enter her work-in-progress to a crime fiction competition. We talk about plot, structure, pace, action, suspense, characterisation and how to write a synopsis. She has some fantastic ideas and I can see the beginnings of a great story.

Although not specifically in the realms of editing and proofreading, we also offer a book coaching service. One of my longest-standing clients is currently writing a historical dual narrative and our coaching session is the last appointment of the week.

The ‘extra’ jobs

My working week generally involves far more than working directly with clients. I deal with the usual admin jobs of quoting and invoicing, accounts, emails and blog writing. I am sourcing guest bloggers for my website, one of whom has written an outstanding piece on the subject of branding and design for authors. I am also launching a literary festival in my town with a team of book enthusiasts, and I spend much of my time in conversation with authors, publicists, sponsors and venue owners, taking on more of a project and event management role.

I am also a firm believer in continually improving my skills and staying up to date with developments in the world of children’s fiction. To this end I recently attended a writing workshop with award-winning children’s author Lucy Strange. While this course is targeted at beginning writers (of course I want to write a children’s book!) it is also invaluable CPD for a children’s book editor.

I regularly take on work outside the realms of fiction. With my background in education, I am happy to take on proofreading and copyediting work in the education sector, both on websites and in course materials. It’s important to know your limitations and when it is best to pass on work to a colleague, but it’s also important to have confidence in your past experience, your range of abilities and to recognise all of your strengths.

About Becky Grace

Becky Grace is a children’s fiction editor and proofreader, working on all genres and specialising in middle grade and YA fiction. Prior to training as an editor and proofreader, Becky was a teacher for 15 years, a career that ignited her passion for children’s fiction.

About the CIEP

Photo credits: header image by Picsea, girl reading by Johnny McClung, girl choosing a book by Suad Kamardeen, all on Unsplash.

Posted by Belinda Hodder, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

CIEP blog

The blog of the Chartered Institute of Editing and Proofreading

Tag Archives: children’s fiction

Resources round-up: Children’s books

CIEP guides and resources

Getting to know the market

Support for writers, editors and publishers

Encouraging diversity

Producing picture books

Ensuring age appropriateness

About the CIEP

The importance of page turns in picture books

Using the picture book format

How to use page turns

Adding page turns to a manuscript

About Lisa Davis

About the CIEP

Proofreading children’s books

Words, words, words (or not!)

A picture paints a thousand words

Flapping about

Fancy doing some origami?

Think about time management

Finally, don’t forget the basics!

About Margaret Milton

About the CIEP

A week in the life of a children’s fiction editor and proofreader

An unconventional background?

What’s different about proofreading and editing children’s fiction?

A ‘typical’ week

The ‘extra’ jobs

About Becky Grace

About the CIEP