Creating a picture book is a unique and rewarding journey that blends storytelling with visual artistry. Through conversations with IBPA members Kyra Ostendorf of Free Spirit Publishing, author Lisa Felkins, and Darcy Pattison of Mims House Books, a wealth of insights and tips emerge for independent book publishers and author-publishers embarking on this creative venture.

Finding and Selecting Content and Illustrations

Free Spirit Publishing, celebrating its 40th anniversary in 2023, has long embraced a balanced approach to sourcing content. The company welcomes unsolicited submissions from authors, uncovering hidden gems, and recently started collaborating with literary agents. This inclusive approach has enabled it to discover a diverse range of voices and stories.

For illustrations, the process involves online searches and direct outreach to illustrators or their agents. The selection criteria are a collaborative effort between the editorial and creative teams, ensuring that the style of illustrations matches the book’s content. This collaboration extends to managing the budget, often attracting illustrators passionate about the book’s message, even if it means accepting a lower fee. Lisa Felkins’ journey into picture books was deeply personal. Her book As I Walked the Beach Today…:Padre Island Pictures & Poetry featured her own photographs and poems. She found that photography, much like words, tells a story and can be woven into chapters. Felkins’ selection criteria for illustrations were moments that evoke deep feelings and connections, capturing the peace and hope she experienced during her walks on the beach. Her process involved extensive communication with her publisher, HALO International, ensuring her vision was clearly translated into the final product.

Darcy Pattison, as an author-publisher at Mims House Books, writes all her books and seeks illustrators globally on platforms like Behance.net and SCBWI.org. She looks for art that amazes and delights, fitting the story’s needs and budget. Her international approach brings a rich diversity of styles and perspectives to her books, enhancing their appeal and depth.

The Production Process

The production process for picture books at Free Spirit Publishing is highly collaborative. The acquiring editor proposes the book’s trim size and page count, laying the groundwork for financial and logistical planning. The book’s editor then works closely with the author to finalize the manuscript and art specifications, involving the larger team for a cohesive development phase.

Felkins’ experience with HALO International emphasized the importance of categorizing content into chapters, thorough editing, and clear documentation. Her meetings with the editing and publishing team were crucial in aligning her vision with the final product, resulting in a book that flowed seamlessly and conveyed the intended message of peace and hope.

At Mims House Books, Pattison’s meticulous process involves multiple revisions and feedback loops. Once the manuscript is ready, she contracts with an illustrator and oversees the art development. Using InDesign, she handles the layout and design, incorporating feedback from copy editors and ensuring the book meets industry standards. This process, though challenging, ensures a high-quality final product.

Printing Methods and Overcoming Challenges

Free Spirit Publishing prints its stand-alone picture books in hardcover overseas, with some series directly in paperback. This approach balances quality with cost-efficiency, catering to different market needs.
Felkins’ book was printed by Ingram through HALO Publishing International. She encountered challenges in ensuring the pages corresponded to her vision and overcoming the fear of public exposure. Clear communication and perseverance helped her navigate these obstacles, ultimately producing a book that resonated with readers.

Pattison has experimented with various printing methods and settled on print-on-demand (POD) with KDP, Ingram, and Lulu for different distribution channels. For large special orders, she opts for offset printing. Learning InDesign was a significant challenge, but its status as the industry-standard tool made it essential for her work. Despite the steep learning curve, mastering InDesign was crucial for producing professional-quality books.

Marketing and Promotion Strategies

Ostendorf finds Instagram invaluable for discovering illustrators and agents, leveraging social media for creative collaborations. Felkins promotes her books through social media, her website, and personal interactions. She emphasizes the power of sharing and word-of-mouth, noting that friends and family have been supportive in purchasing and promoting her work.

Pattison focuses on accurate metadata, reviews, awards, and educational market needs. Her marketing strategy is integrated into the story itself, creating books that are not only wanted but needed. This approach has garnered critical acclaim and sustained sales, particularly in the educational market.

Advice for Aspiring Picture Book Creators

Ostendorf encourages taking risks and being creative, emphasizing the importance of a collaborative and flexible approach.

Felkins’ advice centers on persistence and communication. She recommends keeping a journal of the process and celebrating every milestone. Her experience underscores the importance of clear communication with the publishing team and the courage to share one’s work with the public.

Pattison stresses the importance of mastering the craft of writing and learning professional tools like InDesign. She believes that creating a great story with amazing art is key to producing picture books that resonate with readers across generations. Her dedication to quality and attention to detail ensure that her books have a lasting impact

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