SIDEBARS THAT SHINE

by Nora Nickum

You have probably read nonfiction picture books that include sidebars–additional text that’s outside the flow of the main text and often formatted differently, such as being placed inside a text box or using a distinct, often smaller font. Not all nonfiction picture books have sidebars or need them, though.

So, how do you decide if your project would benefit from sidebars? And how do you choose what information to include, how long the sidebars should be, and more?

Let’s start with some ways that sidebars might be able to boost a manuscript. 

Books with sidebars can reach different kids in different ways. Depending on the reader’s age, level of interest in your subject matter, current attention span, and more, they may be content to focus on the main text, or they may be glad to have additional details ready to dive into right there on the page. In that way, sidebars can be a way to “layer” information for different audiences. I have also found sidebars can help me market my book for a wider age range because I can show there is a thread for younger children to follow, plus optional sidebars that can appeal to older readers.

Sidebars can immediately answer readers’ burning questions. Maybe there are concepts or terms in your main text that some readers will be familiar with, but not all. You could briefly define those terms in sidebars, so the information is readily available to those who need it but can be skipped by those who don’t. Other kids may be so intrigued by your subject matter that they can’t wait to learn more–can you imagine what some of their questions might be, and give them more information in a sidebar?

Sidebars can convey additional information that is fun but not essential. Think factoids, trivia, statistics, and more–things that might add richness and be fun to share but that aren’t essential for understanding your main text.

Sidebars can give you flexibility and allow for varied voices. Sidebars can not only have a different format than the main text, but also a different tone. For example, if your main text is serious, sidebars can be silly (or vice versa). If your main text is lyrical, sidebars can convey more detail without using poetic language. 

If I have decided a particular project could benefit from sidebars, I keep some things in mind when deciding how to write them:

1. Be consistent with length and placement, whenever possible. If I have sidebars on some spreads, I try to have them on all spreads (except maybe the first and last spreads) or occurring at regular intervals. If it feels like I have to force that consistency, I try deleting the sidebars and moving that information to the back matter. It’s also nice to make the sidebars all about the same length, though that didn’t wind up being the case with This Book is Full of Holes (it just takes more words to explain wormholes than to discuss the familiar holes in a backyard sprinkler). When I use sidebars, I also try to keep the main text extra short, so the pages don’t feel crowded with words. 
2. Remember some readers will skip the sidebars entirely. It’s helpful to make sure readers won’t be completely confused if they only read the main text.
3. Consider using a different voice for the sidebars than what is used for the text. Contrast funny/serious or rhyming/prose.
4. Be open to changing it based on editorial feedback. There are, of course, multiple good ways to convey information. An editor may encourage an author to make sidebars shorter or longer (my editor, for example, wanted to make sure the sidebars felt complete–not short just for the sake of being short). Or an editor may suggest deleting the sidebars and integrating the information into the main text or the back matter. Welcome that conversation, and experiment. 

 

Try This: 

Check out some nonfiction picture books that have sidebars. Some recommendations to start with:

●   Up, Up High: The Secret Poetry of Earth's Atmosphere by Lydia Ludikis, illustrated by Katie Rewse (Capstone, 2025).

●   Thank you, Moon: Celebrating Nature’s Nightlight, by Melissa Stewart, illustrated by Jessica Lanan (Knopf, 2023).

●   Bounce! A Scientific History of Rubber, by Sarah Albee, illustrated by Eileen Ryan Ewen (Charlesbridge, 2024).

●   This Book is Full of Holes: From Underground to Outer Space and Everywhere in Between, by Nora Nickum, illustrated by Robert Meganck (Peachtree, 2024). 

First, read through without reading any of the sidebars. Then, read each book a second time and include every sidebar.

●   What was the experience like each time?

●   What kind of content did the authors put in sidebars instead of the main text? What content did they still leave for the back matter?

●   Can you identify another purpose of the sidebars besides the ones I mentioned above? 

Now, read a few nonfiction picture books that don’t have sidebars. How might the inclusion of sidebars have changed the experience, the tone, or the target audience/age?

 

About the author: 

Nora Nickum is the author of multiple nonfiction books, including middle-grade Superpod: Saving the Endangered Orcas of the Pacific Northwest (Chicago Review Press, 2023) and picture books This Book is Full of Holes (Peachtree, 2024) and This Book Bubbles Over (Peachtree, March 2025). She has also published several nonfiction articles for children in Muse magazine. In addition to writing, Nora leads ocean conservation programs for the Seattle Aquarium. Learn more about her at www.noranickum.com.

OUTSIDE THE BOOKSTORE: Niche Marketing

by Roxanne Troup

Everyone knows authors write. But few come into this industry realizing all the other things authors have to learn to succeed—pitching, design, marketing, public speaking . . . And while all those skills can be mastered, the one authors seem to struggle with most is marketing. I get it. Of the thousands of children’s books published each year, how do we break through the noise to help our book(s) find readers?

Niche marketing.

 

Benefits of Niche Marketing

1) Less competition, less noise (more effective use of your time/resources)

2) "Right” readers (those who are already interested in your product)
3) More support (near-instant fan base offering word-of-mouth recommendations/connections)

This is not a bash on traditional sales channels or indie bookstores. We all know how supportive Indies are to local authors—but it’s impossible for one or two local stores to move the needle on a publisher’s P&L statement. That’s why selling through these channels remains the domain of publishing houses. Publishers have the connections to do so; when we try running in that lane, we just end up spinning our wheels. But by focusing on smaller segments of the book community we can find traction.

 

Real-World Examples

My debut, MY GRANDPA, MY TREE, AND ME (illustrated by Kendra Binney and published with Yeehoo Press), uses the lens of an intergenerational family relationship to tell the story of pecans—both their commercial production and backyard cultivation. Its accurate portrayal of farming fit the mission of Ag in the Classroom. So, I did what all nonfiction authors do—research. I found key contacts within that space, and emailed to let them know about the book and offer them my teacher guide. Several of those contacts responded to request bulk quantities of the book, and at least one was instrumental in getting it in front of the Ag Foundation. In January 2024, my book was honored with the Ag Foundation’s Book of the Year award, which meant the Ag Foundation was now behind its success. They bought thousands of copies to distribute to their various Farm Bureaus (many of which also bought bulk quantities to distribute to area schools) and promoted it on their various channels throughout the year. All told, my two dozen or so emails ended up selling around 10,000 copies!  

 

My sophomore release, REACHING FOR THE STARS: A MISSION TO SPACE (illustrated by Amanda Lenz and published with Schiffer Kids) is a forward-looking title celebrating women in space. It collages images from the James Webb telescope into whimsical art to create an awe-inspiring reading experience (and fun look-and-find feature for kids). Knowing how far niche marketing could go, I contacted air and space museums around the country giving them a peek inside the book and asking them to carry it in their gift shops. I don’t yet know what the results of that will be, but I did receive a lovely email from Smithsonian’s gift shop curator saying they would stock it in the National Air & Space Museum!

And you can do the same.

 

Niche Areas to Explore

1)  Organizations—Look for groups whose focus is similar to the subject or theme of your book. Are you writing about endangered animals? The American Revolution? Space? Find organizations who are also raising awareness about that topic. Reach out and see how you can support one another. Perhaps they publish a quarterly newsletter or magazine that needs content. Maybe they’re looking for speakers for an upcoming event. Pitch yourself and your work—just make sure your pitch is focused on supporting the organization’s goals and helping them reach or expand their audience. 

2)  Museums—There are museums everywhere, about everything! Math puzzles…neon road signs…spy gadgets. And nearly every museum has a gift shop. Put that computer keyboard to work and find some connections. Send an introductory email to the person in charge of purchasing, and let them know about your book. Be sure to include a sample page or two and information for wholesale purchases. I like to attach a PDF of my publisher’s sale sheet they can share in case I didn’t pick the right person to contact.

3)  Awards—Book awards make a big-deal-difference in book sales, especially for libraries. We all know that. But there are lots of kidlit-focused book awards beyond those provided by ALA or the CBC. (And these are awards your publisher may not know about.) For example, every year, the American Horticulture Society honors ecology- and garden-themed children’s books through their Growing Good Kids book award program. Google your topic + “book award” to see if anything pops up. You may find something to share with your publisher.

      With a bit of luck (and lead time) you may create some far-reaching publicity opportunities for yourself and your book(s).

 

About the Author:

Award-winning author Roxanne Troup writes picture books that inspire wonder and celebrate family. With a background in education, she also writes engaging nonfiction for all ages. Roxanne lives in the mountains of Colorado and enjoys hiking with her family, gazing at stars, and exploring our amazing world through stories. She loves visiting schools to water seeds of literacy—and occasionally remembers to water the plants in her container garden. Find her online at www.roxannetroup.com.

WHAT TO DO WITH ALL THE RESEARCH THAT WON’T FIT INTO YOUR STORY

by Michelle Cusolito

One of the biggest challenges of writing nonfiction books is corralling the volume of research I uncover. And then, there’s always way more information than I can reasonably fit into the main text of the book. I used to get frustrated, but I learned all of that “stuff” is valuable.

I’ll share examples from my work with the hope that they’ll spark ideas for you.

My top 6 suggestions:

     1. Front Matter/Back matter/end papers: I always include an author’s note that explains how I came to the story and how I researched it. I also include selected sources and suggested books, films, websites, etc. so young readers can learn more. Sometimes we include a glossary, or a diagram related to the book. For example, In the World of Whales has a detailed diagram of sperm whale anatomy created by Jessica Lanan. Sometimes content is even included on the endpapers. My editor and I knew we wanted to include the life cycle of jellyfish in Jellyfish Scientist: Maude Delap and Her Mesmerizing Medusas, but it didn’t fit in the back matter. Ellen Rooney created a gorgeous illustration for the end papers.

2. Content for Classroom Teachers/Teacher’s Guides: Create materials for teachers. Sometimes publishers will create materials, as well. (Here’s an example my publisher created for Diving Deep). I’ve often shared my ideas in blogposts such as on Patricia Newman’s LitLinks. One post called Will it Sink or Float is a hands-on experiment that makes use of my first two books. How to Turn a Student into an Effective Science Communicator is a writing focused lesson that utilizes my second two books.

     3. Blog posts: I love to include “insider details” related to the making of my book in blogposts. For example, on Sue Heavenrich’s blog, I shared details about how I kept track of my research while living and working on a research vessel to write A Window into the Ocean Twilight Zone: Twenty-Four Days of Science at Sea. On Jonathan Roth’s blog, I shared how I prepared physically and mentally to be out at sea in the North Atlantic.

     4. Stories for School and Library Visits/Other Speaking Engagements/Interviews: There’s always a fun story or fact that you want to include in your book, but it simply does not fit the narrative or the structure of the book. For example, Maude Delap, the focus of my next book is known for being the first person to raise jellyfish through their full life cycle (in rural Ireland from 1899-1900!) But there’s this amazing story about her hiring some men to help her bury a (stranded) whale carcass in her garden to help decompose the stinky flesh. She later sent the skeleton to the Natural History Museum in Dublin where it’s still displayed. Oh, how I wanted to put that in the main body of my book, but it simply didn’t fit with the story I was telling. I mention it in the back matter and I love to elaborate upon it when I do public speaking events.

5. Social Media Posts: One of my favorite things to do in the lead up to publication is prepare short posts for social media that share additional details/behind the scenes information. I’m preparing some of those right now for Jellyfish Scientist. I’ve visited the island where Maude lived, so I’m creating posts with photos and/or short videos that show where she went to church, where she lived, where she discovered the sea anemone that was named after her, etc. I’ll also share photos of me with some of the experts who assisted with my research. (I did this for A Window into the Ocean Twilight Zone, if you want to see examples. Or, watch for my Jellyfish Scientist posts on Instagram, coming soon).

     6. Write a New Book: Both of the books I have publishing this year are examples of this. I learned about Maude Delap while I was researching for another (not yet sold) book. Likewise, I learned the remarkable story featured in the book, In the World of Whales, while researching for my book Diving Deep. In this extraordinary story, a freediver was welcomed at the birth of a sperm whale. I immediately knew it had to be a book.

What ideas came up for you as you read this post? Brainstorm a quick list while everything is fresh in your mind. As you continue working on your book, jot your ideas down as they come to you. And save everything, including drafts and dummies. Those are great materials for school visits!

 

 

About the Author

Photo by Marley Parker

Michelle Cusolito is the award-winning author of Flying Deep: Climb Inside Deep-Sea Submersible Alvin, Diving Deep: Using Machines to Explore the Ocean, and Window into the Ocean Twilight Zone: Twenty-Four Days of Science at Sea. Jellyfish Scientist: Maude Delap  and her Mesmerizing Medusas comes out in April, and In the World of Whales publishes in June. Her not-yet-announced sixth book is a “land-based” book. Yep. She’s branching out. Michelle teaches writing in the MFA program at Simmons University.

FINDING FREEDOM IN THE SANDBOX

by Randi Sonenshine

I like structure. In fact, I crave it and feel uncomfortable in its absence. Not like sand in
your sneakers uncomfortable. Like an army of fire ants crawling up your legs
uncomfortable. It’s why jazz, with its offbeat rhythms, gives me vertigo, and why
haphazard picture arrangements send me reaching for my inhaler.

As you might imagine, early on in my publishing journey, this unhealthy dose of
perfectionism often hijacked my writing process…until I learned how to harness the
power of structure. Although it seems paradoxical, a strong structure unleashes my
creativity; it allows me the mental space to focus my creative energy on the writing and
the freedom to experiment with words.

This is one of the reasons poetic writing, especially rhyming, appeals to me. It inherently
provides that framework through meter and rhyme. However, it’s far from the only way
to create structure; sometimes a simple refrain or parallel beginning element is enough
to provide the structure I need. Many popular works of fiction have had great success
using this technique (If You Give a Mouse a Cookie, Goodnight Moon, Mama Do You
Love Me? for example), but it can work equally well for nonfiction.

That concept propelled the process in writing my debut, THE NEST THAT WREN BUILT (Candlewick 2020). I had been intrigued by the Carolina Wrens’ habit of building nests in various containers in my garage - an upside-down bike helmet, an Amazon box, the brim of a garden hat - as well as the process and materials they used in the construction (snakeskin?!). While researching, the title popped in my head, unearthed from a childhood memory of reading “The House That Jack Built,” no doubt. The concept was a natural fit for my subject and purpose; however, instead of following the original, unrhymed cumulative approach, I used only the beginning and ending elements to build a spare, poetic framework that echoed the natural rhythms and cycle of the wrens’ work and created a pleasing read-aloud.

 

Using this structure created a sandbox in which I could play with words, changing and rearranging until they fit and felt just right, layering each verse with poetic elements like alliteration and assonance, and embedding both the scientific language and the context young readers would need to understand it. This approach also paved the way for companion titles, THE LODGE THAT BEAVER BUILT (2022) and THE DEN THAT OCTOPUS BUILT (2024), and I had just as much fun playing in the word sandbox with them!

A peek into my “sandbox” with the first verse of THE DEN THAT OCTOPUS BUILT:

The actual first page, gorgeously illustrated by Anne Hunter:

Tips for Building Your Sandbox

1. Be strategic. Choose a structure purposefully. For example, some elements,

such as refrains or parallel structures can create a particular cadence, which can

echo a theme or evoke a mood. Experiment with different options until you find

one that reflects or enhances your subject in some way.

2. Think outside the (sand) box. When it comes to seeking a structure, don’t

overlook a potential source. Classic books, nursery rhymes, and songs may

provide inspiration, but so could famous speeches, poems, or lines from classic

literature (even Shakespeare!).

3. Make it your own. If you take your cue from a well-known source, work to make

it your own. For example, a book about a biome, modeled after the classic Over

in the Meadow, might be Deep in the Rainforest or Out on the Prairie. Similarly,

All around the Mulberry Bush could inspire Up and Down the Sycamore Tree.

4. Don’t be afraid to use something that’s already been done. As with The Nest

That Wren Built, there are many other books, especially in the last few years, that

took inspiration from The House That Jack Built (See the list below for just a

few.), but they are all unique and work beautifully.

I hope you can take away a tiny grain of inspiration from the mentor texts below. See

you in the sandbox!

A Sampling of Books With Strong Structures 

A Nest is Noisy, An Egg is Quiet, A Rock is Lively by Dianna Hutts Aston

Before he was a Jazz Giant: A Song of John Coltrane, by Carole Boston Weatherford and

Sean Qualls

Before She Was Harriet, by Lesa Cline-Ransome and James Ransome

Mojave by Diane Siebert and Wendell Minor (Mask Poem…”I am…”)

On a Snow-Melting Day, by Buffy Silverman

Over and Under the Snow by Kate Messner and Christopher Silas Neal

The Gabi That Girma Wore by Fasika Adefris, Sara Holly Ackerman, and Netsanet Tesfay

The Sea Knows by Alice McGinty, Alan Havis, and Stephanie Laberis

This is the Sunflower by Lola Schaefer and Donald Crews

Water Can Be, A Rock Can Be, A Leaf Can Be by Laura Purdie Salas and Violeta Dabija

Water is Water by Miranda Paul and Jason Chin

Welcome to the Green House by Jane Yolen and Laura Regan

Where Once There Was a Wood by Denise Fleming

Whoo-Ku Haiku by Maria Gianferrari and Jonathan Voss

About the Author:

Randi Sonenshine is the author of THE NEST THAT WREN BUILT, THE LODGE THAT BEAVER BUILT, and THE DEN THAT OCTOPUS BUILT (Candlewick Press), which have earned starred reviews and appeared on many notable lists, including the Chicago Public Library, Bank Street College, Capitol Choices, and the CCBC. She is also the author of National Jewish Book Award Finalist, THE INSIDE NAME (Apples & Honey Press). In addition to writing for children, Randi is a literacy specialist and instructional coach in northwest Georgia, where she does her best writing accompanied by birdsong and a good pot of Earl Grey tea.

STANDING OUT IN A CROWDED BOOK MARKET

by Suzanne Jacobs Lipshaw

 

In 2012, my family and I visited Yellowstone National Park. Journeying through the park, we were in awe of the spurting geysers, gurgling mud pots, and colorful hot springs. The teacher in me knew my students would be in awe of Yellowstone too.

That school year when my students entered my resource room, they entered a room decorated like Yellowstone National Park. As part of a new teaching strategy, I immersed my students (struggling readers) all year in books, videos, and projects revolving around the park significantly increasing student engagement, motivation, and learning.

 

 

Wanting to continue to spread the wonder of Yellowstone, I decided to showcase my passion in my next picture book. But there were a myriad of picture books about Yellowstone. How was I going to make my manuscript stand out?

I had to find an angle. But was there a slant that hadn’t been used by another author? I brainstormed. Perhaps I could focus on one awesome feature of Yellowstone, instead of the whole park. Nope. I wanted to share it all.

I asked myself questions about what I learned at the park. One stood out. What triggered my desire to share Yellowstone with my students? It was the volcano hidden below Yellowstone—the impetus for the park’s incredible ecosystem.

Could I make the volcano the “main character”? I brainstormed some more. Hmmm, the super volcano is often referred to as a sleeping giant. This angle could work. I love a good metaphor! I searched online hoping no other author had thought of it. No go! A wonderful book was just published taking that slant. Now what?

During my research, I learned that the Yellowstone volcano was different from other volcanoes. I spent some time thinking about this. I could focus on these differences. Nah! That would be too broad.

What if I focused on only one difference? I did some research. There are more than 1,500 active volcanoes on Earth, but there are only 20 supervolcanoes. And wouldn’t you know it, Yellowstone is not only one of the twenty, it is the fourth largest supervolcano in the world!

The word super stuck with me. Super important. Supercalifragilisticexpialidocious. Super powerful. Superhero! What if I keep my metaphor idea but change the sleeping giant to a superhero. I had found my angle! Let the writing begin!

 

TRY THIS

Don’t be afraid to write about a topic that appears overdone. Take a look at the books listed
below and see how these authors have taken a creative slant on a common topic or have found unknown bits of information about a famous person, and use these to inspire your original angle! Good luck and happy writing!

• The Super Volcano: A Hidden Hero Below Yellowstone National Park by Suzanne Jacobs Lipshaw
• Volcano Dreams: A Story of Yellowstone by Janet Fox
• Tad Lincoln’s Restless Wriggle: Pandemonium and Patience in the President’s House by Beth Anderson
• Thomas Jefferson’s Battle for Science: Bias, Truth, and a Mighty Moose by Beth Anderson
• Freaky, Funky Fish: Odd Facts About Fascinating Fish by Debra Kempf Shumaker
• Flamingos are Pretty Funky: A (Not So) Serious Guide by Abi Cushman

(Please note: Parts of this post were first written for another blog but remain the author’s original ideas and words.)

 

About the Author:

Suzanne Jacobs Lipshaw is a children’s book author and former teacher passionate about growing young minds. Her writing credentials include the true-story picture books I Campaigned for Ice Cream: A Boy’s Quest for Ice Cream Trucks, Mighty Mahi, and The Super Volcano: The Hidden Hero Below Yellowstone National Park. Suzanne enjoys speaking about writing, leadership, and how kids can make a difference. When she’s not dreaming up new writing projects, you can find her kayaking on the lake, hiking the trail, practicing at the yoga studio, or comparing paint swatches. To learn more about Suzanne visit her website at http://www.suzannejacobslipshaw.com/.

HOW TO AVOID FACT-CHECKING FOIBLES

By Megan Clendenan

 

When I researched my middle-grade non-fiction book CITIES: HOW HUMANS LIVE TOGETHER (Orca Books, 2023), I had a skyscraper-high list of questions. What materials were the first streetlamps made from? How did ancient cities grow food? Whose house was first lit up by electric power? My goal was to write an engaging, surprising, and 100% accurate book for readers.

But how do you find, verify, and keep track of all this information?  

 

Find

For CITIES, I consulted about 200 sources: interviews, peer-reviewed scientific papers, and archival materials such as newspapers and photographs. I look for primary sources as much as possible, such as interviews, letters, or other first-hand materials. Otherwise, I try to get as close to the source as I can. I don’t assume a news article got the information right. I find and read the research myself, maintain a healthy dose of skepticism and keep the question, ‘Says who?’ in mind.   

 

Verify

An expert’s eyes on your manuscript can be gold. For CITIES, I reached out to urban and environmental planners as well as professors of history (Finding experts is a whole other topic!). Several generously agreed to read sections of my manuscript. And I was glad they did, as even after I did my due diligence and had factually correct information, they provided expert context on my overall narrative. Their comments enabled me to rethink a few points, ultimately making the book much stronger.

 

Keep Track

I amass a mountain of notes and materials as I go. Organizing research is easily its own blog post – and check this one out! I know authors who use Microsoft OneNote or Google Drive, and others who use binders with hand-jotted notes on paper. I set up research folders and files in Microsoft Word, and keep track of sources with EasyBib, an online bibliography generator.

 

Ready for Fact Check?

After back-and-forth revisions with my editor, it was time for copyedits and fact check. This is such an important step to ensure the book is accurate! I sent my CITIES manuscript off with a bibliography. Phew! Done. Or was I?

When my manuscript was returned, I found it chock-a-block with queries. Faced with a tight turnaround, I sat down and dug in. I was confident I had sources for everything, but as I rifled through my research, painstakingly answering each query, there were moments of trepidation as I sought out exactly where I’d pulled each piece of information.

Time for a new system to smooth out the fact-checking process! Here’s what I do now. Maybe some of this idea might be helpful to you.

 

Annotate with Aplomb!

Before sending my manuscript to copyedits, I save a new copy and create an annotated version that shows my sources.

An annotated copy is basically your manuscript filled to the brim with comments or footnotes that indicate the source(s) for each piece of information, whether from a book, a scientific paper, or an interview you conducted. I also provide a full bibliography. It’s a tried-and-true system for many journalists, academics, and other researchers, and it makes good sense. Help your fact-checker help you!

It might seem like the best time to start your annotated copy is when you start writing, and that probably works for some writers, but I have a slightly different process. I do keep notes of all sources I’ve used for each section or chapter, and I refer to these notes as I create my final annotated copy, just before the manuscript is sent to copyediting.

The reason I fully annotate as one of my last steps is because I use this process to fact-check myself. Full disclosure: I dread this step! It’s tedious. But I’ve discovered places where I needed to revisit a statement and unearthed updated research that I may have missed otherwise. New research comes out all the time, and writing a manuscript can take years!

It’s work, yes, but after I hit send, I’m calm. I’m collected. I can sleep easy knowing that I did my due diligence to ensure an accurate book for readers, and, that any queries that come my way are most likely going to be easy….er… easier… to answer.

The next time I sent a manuscript for copyedits, it was returned with much fewer queries. Victory!

 

What’s your way?

Everyone has their own method of organizing – post any tips, tricks, or resources to share in the comments!

 

About the Author

Megan Clendenan is an award-winning children’s book author and freelance writer. Her books include Cities: How Humans Live Together (Orca Books, 2023, illustrated by Suharu Ogawa), a Children’s Book Council Librarian’s Favorite, Fresh Air, Clean Water: Our Right to a Healthy Environment (Orca Books, 2022, illustrated by Julie McLaughlin), which won the Green Earth Book Award, and the upcoming non-fiction picture book Just In Case: Saving Seeds in the Svalbard Vault (Charlesbridge, Fall 2025, illustrated by Brittany Cicchese). She has more books on the way! Megan lives with her family near Vancouver, BC. Learn more at meganclendenan.com.   

 

 

 

 

WHEN TO START WRITING A QUERY LETTER

by Christine Van Zandt

 

If your goal is traditional publication and you plan to acquire an agent or will be querying
publishers directly, don’t wait to draft your query letter—do it while you’re still writing your book.

 

WHY?

A query letter is a crucial piece in selling your manuscript; you’ll want to devote plenty of time to writing an excellent one. If you begin drafting one while still immersed in the story, the material is fresh in your mind. Having your query letter on hand is also beneficial to the book-writing process because writing and reviewing the query letter regularly can keep your writing track (or get it back on track if you feel you’re straying from the heart of your story). Or, maybe the query letter needs updating to better express the new direction the manuscript has taken. A query letter, like a manuscript, is a work in progress. You’ll keep revising the query as your book evolves and tailoring it for specific submissions.

 

WHO NEEDS TO WRITE A QUERY LETTER?

Authors seeking traditional publication typically write a query letter to accompany the opening pages of the manuscript once they start querying agents (seeking representation). However, there are other paths to take that also require a query letter. For example, some publishers allow queries from unagented writers, or, sometimes a direct contact—maybe an acquisitions editor you met a writers’ event—asks you to query them directly.

 

WHAT IS A QUERY LETTER?

A query letter is a concisely written, one-page business letter used to entice the reader to stop everything they’re doing, read the accompanying manuscript pages, and then contact the author asking for the “full” (full manuscript) because this is a book they couldn’t put down and one they think they can sell.

 

For novels, typically 15-30 pages of the manuscript are submitted along with the query; for picture books, the full manuscript is sent. Submission requirements vary; follow guidelines carefully. Nonfiction books may be handled differently; sometimes they can be pitched as an idea. However, for debut authors, sample chapters or a full manuscript may still be needed.

 

BEFORE YOU START

Plan to invest time researching. Find the right agent for you and your book and send queries only to agents who are actively seeking the kind of book you’ve written. This means that (1) they are open to submissions, and (2) they represent that category and genre of book (i.e., middle grade mystery). Beyond reviewing an agency’s website, you can look at sites that provide a look at many agents/agencies, like Manuscript Wish List.

 

OPENING

The opening lines of a query letter often state why that agent/publisher is being queried and note if the writer has a connection. For example, “Per the monthly Slushpile-Skipper opportunity on the Kids Writers Are Awesome blog, I’m submitting the first 20 pages of my 40,000-word middle-grade mystery because the post stated that you are seeking middle-grade contemporary friendship stories and also like ghost stories. My book has all of those elements.” Or, “We met at the Spring 2024 Children’s Writers Conference during a pitch session. You expressed interest in my book’s premise and asked that I send you the first three chapters. Attached please find the opening chapters of my 40,000-word middle-grade mystery.”

 

HOOK AND SUMMARY

After an amazing opening blurb about your book that hooks the reader, a standard query letter includes a brief summary of the book. This sounds simple. (It’s not.) Spend a lot of time crafting this portion of your query letter. If you belong to a critique group, workshop your query letter with them. If you have critique partners who have read your book, that’s even better because they may catch what your query letter’s missing.

 

A query letter can help sell your book. Treat it as an important piece on your path toward publication.

 

Though, as with most anything when it comes to writing, there’s no one way things are done. An agent may skip past the query for now and go directly to the manuscript pages. It happens. Still, I believe in “better safe than sorry” as many agents do start with the query and, if intrigued, continue on to the manuscript pages.

 

BIO

Include brief info about yourself that’s relevant to you as a writer and, perhaps, why you wrote the book. Focus on facts that are applicable and can help sell the book. For example, “I’ve been a high-school teacher for the past 15 years. My historical fiction YA book is loosely based on my grandmother’s journal that she kept as a teen in the 1930s through 1940s chronicling Japan’s invasion of China and WWII.”

 

CLOSING

This is where you thank the reader for their time and consideration. Remember everyone is busy. Keep the query letter’s content brief and professional; include contact info at the bottom, including social media hyperlinks.

 

ADDITIONAL RESOURCES

There are many online sources. I like the Writer’s Digest article, “How to Write Successful Queries for Any Genre of Writing” because it includes 39 examples of actual query letters that landed book deals.

 

SCBWI members can also access a free article, “The Query Letter,” by Carla Killough McClafferty in SCBWI’s online publication, The Essential Guide to Publishing for Children. Once you’re signed into SCBWI.org, click on “Publications,” then the name of this book.

 

Good luck! I hope to, one day, read your book.

 

 

About the Author: Christine Van Zandt is the owner of Write for Success Editing Services and an award-winning author. Her nonfiction picture books include Milkweed for Monarchs (Beaming Books, 2024), A Brief History of Underpants (becker&mayer! kids, 2021), and three yet-unannounced children’s books. She lives in Los Angeles, California, with her family. You can find her at Instagram, LinkedIn, Facebook, Bluesky, and X/Twitter.