Self-Publishing a Children’s Book
by Alexis Tapp
Alexis is the author of Jimba Jackobean and the Bouncing Bangerrings.
Self-publishing any book is a project not to be taken on by the faint-hearted. Apart from all of the things that can, and probably will go wrong, there are no guarantees that it will sell.
Although the basics of publishing a children’s book are the same as for publishing any book (see main article), you also need to know that children are not an easy audience. Don’t think that because the words are simple that writing for them is an easy task, it isn’t. Children need to be kept immersed in a story, if the story wanes at any point they lose concentration and focus elsewhere. Children don’t want to listen to a story that speaks down to them or is obviously trying to browbeat them with lessons at every turn. Some books should just be for fun. Teaching books don’t necessarily have to be written for fun, but they should be interesting.
A children’s book should have a main character and sub characters, the same as an adult’s book. The characters need to be well rounded, just like in any story. There are plots and sub plots and all of the questions need to be answered at the end, the same as adult books, and the main character needs to solve his or her own problems.
To give you an example of how difficult children’s writing can be, try writing a story with say, 1200 words. Include a beginning, middle and an end as well as a few characters. Set up a plot and a problem for the main character to solve. After you think you have a work of art on your hands, try cutting the same story to 700 words. The writing has to be tight. All of the words in a children’s book need to have a purpose and they should all move the story forward. The work needs to stand on its own.
Editing
Children’s books need editing just like any other book and finding a good, professional editor is worth the trouble. They should know what works currently for kids so listen to what the editor tells you. If you don’t agree, at least think on their comments; there is usually a reason.
My own picture book, ‘Jimba Jackobean and the Bouncer-Bangerrings’ was discussed with my proofreader at great length before being sent to the printer. One decision we made was to not justify the right edge of the text. The reason was simple. Children are used to words having the same sized space between every letter. When the right side of the text is justified, the text will be stretched out or even squashed slightly to fit into the line. This may be uncomfortable for a beginner reader, resulting in their not reading the book at all. Small things make all the difference. When you hold your printed book in your hands for the first time, you will be glad you addressed every nuance of editing.
Ghostwriting
Ghost writing is when you allow someone else to rewrite your manuscript. It is like submitting your work for an extreme edit. A good ghostwriter will rewrite your work, making it a marketable product, but at the same time keeping your voice within the pages. It is costly, but an option if you want to go down that road. There are some excellent ghostwriters around and they make a nice living from what they do. They also guarantee discretion and usually only charge a flat rate, although I do know of some ghostwriters who ask for royalties from the book as part of their contract.
Working with an illustrator
Finding an illustrator can take time. It took me two years to find the right illustrator. Some illustrators are reluctant to work with a self-publisher. It can take twelve months to illustrate a picture book, which means they may be turning down work from a mainstream publisher; something most can’t afford to do.
If you do find someone you think you can work with, they will need a contract. The Australian Society of Authors have simple templates for contracts on their website. You need to consider copyright and licensing, as your illustrator will probably want to keep the copyright while you license the use of the illustrations.
Apart from a contract, the illustrator will need a brief. A brief is a written guide of what you expect from them. The guidelines can be as intricate as you like, describing characters and backgrounds or you can leave it up to the illustrator to do what they do best. I find this works for me. Omar Aranda illustrates my books and I have total trust in his artistic ability. I asked him to work on my books without my input. This was something he didn’t expect and normally doesn’t have the opportunity to do, but he went ahead and the results were outstanding. As a creative soul, Omar found sublime joy in being able to work unfettered. I have recently received his illustrations for my next book and they are simply beautiful. I wouldn’t change a thing.
The illustrator will send pencil drawings for you to approve. If any changes are needed, these will be made and once again submitted for further approval. Once the drawings are finally approved, the colour is then applied and forwarded again for your approval. When this is all done, the illustrator will then send you the high-resolution pictures suitable for printing.
Printing
Printing an all colour book is expensive. For example an Australian printer might charge you approximately $4,800 for 2000 copies of an A4 size, 32 page all colour book with a saddle stapled soft cover. A printer in Asia might quote you much less for the initial print run, but you would also need to take into consideration transport costs, import charges and Australian GST.
You have many options on the type of paper, the thickness, matte or lacquered. Your printer will be able to guide you; he knows what works and what doesn’t. Choosing between soft and hard covers, the binding process and cover design are decisions you will need to make and they are dependent on your purse as well as your style.
Before you go to the printer you will need someone to set out your text and illustrations ready for printing. This step is called storyboarding and only a professional finish is acceptable.
Once at the printer’s, your work will be set out as proofs and sent back for your approval. This is where you do a final read of the text and make sure all of the colours are what you want. It is a good idea to have your storyboard person have a last look too.
The printer will ask a lot of questions about things you never even thought of, but if you find a decent printer they will explain things along the way. You will also need to consider the design for the cover. Again, don’t hesitate to ask for advice. If you are looking at recording, then you will also need your illustrator to organise the actual CD cover. This is usually just a lift from the book cover and isn’t too expensive.
Marketing
Marketing a children’s book is definitely challenging. You can pay someone to do it for you, but even then you won’t have any guarantee your books will sell. Shop around if you are going through a marketing company and make sure they have experience at promoting children’s books. I found the prices ranged from $5000 to $30,000 for the same thing. It is wise to really look around before you commit to anything. Also, make sure the people you work with love your work almost as much as you do. If they don’t like your work, they won’t perform at their best.
You can go to markets yourself and set up a stall. You will probably sell some books and get your product out there. You can set up a website to sell books but people need to be able to find you on the net. Again, you may need to hire someone to optimise your site.
Hoofing around doing readings isn’t easy. I was invited to read my book at the local bookshop and only one child turned up. It so happened that he belonged to the people in the shop next door and they sent him in to get him out of their hair for a while. For an unknown author things can be challenging.
During Children’s Book Week, my marketing people arranged for me to read at a large Children’s Hospital. After a two-hour journey to the hospital, I had a long wait before anyone showed up to collect me at the reception area. And as I was being led around trying to find children, any children, it occurred to me that these people had made the arrangements but had not actually organised anything at their end for my visit. I was exasperated to say the least. I lugged a bag full of heavy books, which soon became like a lead weight, all around the hospital. My nonplussed guide eventually arrived at a room full of very young babies in cots and I declined the offer to read to them.
We continued around the hospital, walking along corridors, up and down stairs and eventually found a waiting room with a hand full of children. The kids looked really pleased to see someone and they settled down to be entertained. Unfortunately, one child was having a bad day and became disruptive. And, being kids, the others preferred her entertainment to mine and everyone pretty much focussed in that direction and so my book reading was drowned out by screams and tantrums. I don’t do many readings now, but at least I know the questions to ask if I do.
On the plus side, one very good place to do a reading is at the local library. The children’s librarian knows his/her kids well and will know exactly how long they can sit still. If he/she is a good librarian they will have prepared the children for a visitor and so the kids are keen to have you there. Also, the parents are present so the kids are pretty much well behaved. The majority of these sessions are held in the morning so the children aren’t worn out before you even begin.
I have donated a good many books to libraries and schools. This is an excellent way to advertise your book, and of course you can also collect PLR & ELR (see below). If I am invited to sell my books anywhere, I always give a couple away. Likewise, if I have a teaching session, I give a couple of books to the school.
I sent books off to magazines and a few featured the book on their kids’ pages. I even had a phone call from a magazine in New Zealand saying they just loved my book. They featured it on their cover the following month. I promptly sent them a few more books and they held a competition with my books as prizes.
When I embarked on the self-publishing road, I knew the book had to be the best that it could be. I also knew that, written by an unknown author, it would probably not sell and that it was a huge gamble. The first book was simply to get my name out there. I often give copies away and it does pay off. I went to a meeting recently and took everyone a copy of my book because they are always asking about it. As a result, one of the men gave his copy to his girlfriend who is a schoolteacher. She read it to her class and now the students are taking it in turns to take the book home every night. This sort of marketing is a sure way to generate sales.
One last thing about marketing. Don’t expect to see your book in the shops. Mostly, shop owners are interested in books that will sell, a ‘sure thing’ and with book sales the way they are, who can blame them. Books are selling in the millions from the internet, and sadly, that means taking sales away from the shops. Also, bookshops usually only buy from distributors and the payment to the author is very small.
Work out how to sell your book on the net and go for it.
Public and Educational Lending Rights
A book in a library entitles the author and the publisher to collect royalties for every book held in a municipal or school library. For the self-publisher, you may be entitled to receive both of these royalties.
PLR and ELR are paid out annually in March, so you may apply any time before then for lending rights. It is as easy as filling out the forms, which you can download from the website http://www.arts.gov.au/books/lending_rights. You will be notified by email that you have been given a log in and password and then you may make a claim in advance of the March deadline. The lending rights website accommodates self-publishers so it is easy to use. There is a two-step process involved, one to register as an author or publisher, or as both if you are a self-publisher. The second step is to submit a title claim for each book you have published.
Recording an audio CD
Recording the audio CD for my book was an absolute pleasure. I paid the musician a flat fee to write and play the music. My storyboard lady, also a talented musician with several recordings to her name, held the session in her recording studio in her home.
The music was recorded on one day and was an absolute work of art. The musician, Mr Roger Nicholson, had the music in his head and played the keyboard while he read the text. It took less than two hours. The voice, my voice, was recorded in advance and again, took less than two hours. We did most of the readings in one take. All up, recording the master cost less than $500.
You will need to shop around for the duplicates though. There are good and less than good duplication services and once again, you may be best to ask around. However, for 500 CDs I paid $500, which isn’t bad at all.
Conclusion
Finally, go to as many paid gigs as you can. If people are willing to pay to hear what you have to say, then your audience will be interested before you even begin. Then it is up to you not to let them down.
Get yourself out there. I read somewhere that it takes about five years for an author to become a household name so you had better get started now.
Good luck!
© Alexis Tapp 2011