Revise with Confidence with Quick Fixes for Common Manuscript Issues

Discover practical, simple strategies to identify and resolve issues in your children’s book draft, ensuring it captivates young readers and aligns with today’s publishing standards.

As children’s authors, we carry the enormous privilege of shaping young minds through story. But transforming a bright idea into a polished manuscript that resonates with children isn’t always smooth sailing. For this final guest post, I wanted to share some practical ways to help you troubleshoot your manuscript and ensure it connects with readers in a meaningful way.

Finding Your Why

Every story begins with a spark, but sustaining that fire through the long journey of writing and revising requires a clear sense of purpose. Why this story? Why are you the one to tell it? And what do you hope your readers will take away?

Eyes That Speak to the Stars 
by Joanna Ho

Your “why” is more than just a guiding light—it’s the emotional core that keeps your story authentic. In the book, The Rabbit Listened by Cori Doerrfeld, the heartfelt exploration of empathy and emotional resilience stemmed from the author’s reflections on personal grief. Similarly, in Eyes That Speak to the Stars by Joanna Ho (2022), the theme of self-acceptance is woven seamlessly into a narrative that uplifts Asian representation. A strong sense of purpose helps focus your manuscript and inspires young readers to connect deeply with your message.

Understanding Your Ideal Reader

Picture your ideal reader. How old are they? What are their fears, joys, and questions? Tailoring your story to a specific child ensures it has focus and emotional resonance. The eight-year-old who devours middle-grade adventures in Maya and the Robot by Eve L. Ewing (2021) differs from the toddler captivated by the bold imagery and sparse text of Peekaboo Farm by Camilla Reid (2020). Writing for a clear audience helps you create relatable, impactful characters and situations.

Crafting a Strong Main Character

A child’s connection to your book often hinges on your protagonist. Is your main character driving the story? Are they making decisions, solving problems, and experiencing growth? Children want to root for someone who reflects their dreams and struggles. In Amy Wu and the Warm Welcome by Kat Zhang (2022), Amy’s relatable desire to include a new friend while staying true to herself is a perfect example of an active and endearing protagonist.

Incorporating Conflict and Resolution

Big Feelings by Alexandra Penfold
and Suzanne Kaufman

Conflict is the beating heart of your story’s tension. Whether it’s internal, external, or a mix of both, the challenges your character faces should feel authentic and age-appropriate. Look at Big Feelings by Alexandra Penfold and Suzanne Kaufman (2021), where the characters navigate complex emotions like anger and frustration in a way that’s engaging and comforting for young readers. Build suspense and drama, but always guide your readers toward a satisfying resolution. 

Balancing Text and Illustration

For illustrated works like picture books and graphic novels, the partnership between text and visuals is paramount. The words should complement the illustrations, leaving space for the art to enrich the storytelling. In I Talk Like a River by Jordan Scott and Sydney Smith (2020), the poetic narrative and evocative illustrations work together to depict the emotional journey of a boy overcoming his stutter. Let your illustrator—even if that’s you—carry part of the storytelling load.

Adding the Element of Surprise

The Barnabus Project 
by The Fan Brothers

Children’s books thrive on delight and discovery. Does your story contain twists or moments that catch readers off guard? The Barnabus Project by The Fan Brothers (2020) captivates with its unexpected turns in an underground world of failed animal experiments, keeping young readers guessing until the end. Surprises, whether they're humorous or poignant, enhance the story’s memorability and make it an enduring favorite.

Choosing Words Carefully

Every word in a picture book carries weight, and brevity is your ally. Are your sentences efficient and evocative? George Saunders’ advice in A Swim in a Pond in the Rain applies well here: “Every element should be a little poem, freighted with subtle meaning that is in connection with the story’s purpose.” Modern picture books like Outside, Inside by LeUyen Pham (2021) demonstrate how concise text can evoke complex emotions and vivid imagery. 

Showing, Not Telling

Bring your story to life by dramatizing events rather than explaining them. Sensory details and emotional cues invite readers into your world. In Blue Floats Away by Travis Jonker (2021), the gentle yet vibrant description of a melting iceberg’s journey immerses children in an environmental tale without overexplaining. Draft expansively, then pare down to essential, evocative language.

Leveraging Mentor Texts

The Year We Learned to Fly 
by Jacqueline Woodson
and Rafael López

Even experienced writers benefit from mentor texts. What five books resonate with your story’s tone, theme, or style? Recent works like The Year We Learned to Fly by Jacqueline Woodson and Rafael López (2022) or How to Catch a Clover Thief by Elise Parsley (2021) offer valuable insights into pacing, language, and narrative structure. Let these books inspire you as you refine your manuscript.

Pressure Test Your Prose By Reading it Aloud

The ultimate test of a children’s book is how it sounds when read aloud. Share your story with a trusted friend or a young reader. Are the rhythms engaging? Do the words flow effortlessly? Listening to yourself read can reveal clunky phrasing or uneven pacing, helping you polish the manuscript to perfection.

Diagnosing Common Issues

If your manuscript isn’t quite landing, step back and reassess. Are the stakes high enough? Is the theme clear? Are the language and concepts age-appropriate? Troubleshooting is about asking hard questions and being open to change. As you work, remember: every great book began as a messy draft once upon a time.

How to Ensure Your Story Has Heart

The art and craft of writing children's books that create lasting connections with readers

With Valentine's Day on the horizon, I thought I'd go a little deeper into the concept that's already top of mind for many of us kidlit folks this time of year: Heart.

Every story, regardless of genre or audience, has a core—a central truth that resonates long after the last page is turned. For children’s authors, understanding and amplifying that truth is the difference between a story that’s merely read and one that’s cherished. The heart of your story isn’t just its plot or characters; it’s the emotional core that ties everything together and lingers with your readers.

The heart of a story is what moves readers, captivates them, and makes them feel seen. It’s the universal theme or emotional truth that beats beneath every action, every decision, every turn of the page. Stories with heart aren’t necessarily sentimental, but they are always deeply felt. They have the power to connect across ages and experiences—something especially important in writing for children, where stories often become foundational in shaping a reader’s worldview.

What the Heart of Your Story Is (and Why It Matters)

I Love You For Miles and Miles,
by Alison Goldberg,
illustrated by Mike Yamada

The heart of your story is the "why" behind the "what." It’s the deeper meaning that drives the narrative forward and gives it purpose. Without heart, even the most intricately plotted story risks feeling hollow. The heart is what transforms a sequence of events into a journey worth taking.

When we talk about heart, we’re talking about what your story wants to say at its most essential level. Maybe it’s about the courage it takes to stand up for yourself, the bittersweet beauty of letting go, or the enduring power of friendship. Whatever it is, it’s the thread that ties your story together. For children, who often experience books on both an emotional and formative level, stories with heart create a safe space to explore big feelings and complex ideas.

Stories with heart aren’t just memorable—they’re meaningful. They give your readers something to hold onto and reflect on, long after they’ve finished the book. That’s why identifying and staying true to the heart of your story is so important. It’s your north star, guiding every choice you make in your writing.

Finding the Heart of Your Story

Identifying the heart of your story begins with asking the right questions. Start by digging into your character’s journey. What is their deepest struggle? What do they long for, and what stands in their way? Look beyond the surface of your plot to uncover the emotional truths driving your story forward.

1. Examine Your Character’s Arc: Every story has a character who changes—maybe in small ways, maybe in big ones. What is your protagonist learning? How are they growing? These internal shifts are often a direct reflection of your story’s heart. If your main character discovers the courage to be themselves, your story’s heart might center on authenticity or bravery.
2. Consider the Central Conflict: Look at the challenges your character faces. Conflict isn’t just about external events; it’s often a mirror for the emotional stakes of the story. For instance, a quest to find a lost treasure might also be about finding self-worth or discovering the value of connection.
3. Ask Yourself "Why": Why are you writing this story? Why does it matter to you? The stories we write often come from a deeply personal place. If you can identify what drew you to this idea, you’re already on the trail of its heart.
4. Think About Your Audience: What do you want your readers to feel when they close the book? How do you hope your story will resonate with them? Whether your readers are toddlers, teens, or somewhere in between, your story’s heart should offer something that feels true to their world.

Writing With the Heart in Mind

Pokko and the Drum,
by Matthew Forsythe

Once you’ve found the heart of your story, the next step is weaving it into every element of your writing. Think of it as an invisible thread that holds the narrative together. Every scene, every character decision, and every word should serve this central truth.

Anchor Your Plot: Make sure your story’s heart drives the action. If your story is about belonging, each plot point should reflect your character’s struggle to find their place.
Deepen Your Characters: A story with heart requires characters who feel real. Their actions, decisions, and even mistakes should all stem from the emotions at the core of the story.
Refine Your Language: Choose words that carry weight. In picture books, every word matters—lean into language that amplifies the emotions you’re trying to convey. For longer works, like middle grade or YA, take the time to create moments of emotional resonance within the narrative.
Revisit and Revise: As you revise, keep the heart of your story front and center. Ask yourself: Does this scene strengthen the emotional core, or is it pulling the story in a different direction? Revision is where the heart of a story often emerges most clearly, so don’t be afraid to cut what doesn’t fit.

Why Heart Matters Most of All

Children’s literature has the unique ability to nurture empathy, curiosity, and connection. When we write stories with heart, we’re giving readers a mirror to see themselves and a window to see others. Whether it’s the simple, powerful message of a picture book or the layered complexity of a young adult novel, a story with heart is one that readers carry with them.

Your story’s heart is something you return to again and again throughout your writing process. It’s what makes your story yours. It’s what makes your story matter, not just on Valentine's Day, but every day of the year.

Cara J. Stevens is a writer, editor, and book coach with over 20 years of experience in children’s publishing. Based in Los Angeles, she specializes in helping writers craft their stories across genres, offering services in developmental editing, book coaching, and creative workshops. Cara served as the 2023 SCBWI-L.A. Mentor, and contributes frequently to Kite Tales, the SCBWI Southern California blog. Her most recent children’s book is the Mean Girls Little Golden Book, illustrated by Viven Wu and Chivaun Fitzpatrick (Little Golden Books). She has been an SCBWI member since 1996. Her podcast, Picture Perfect, features interviews with kidlit professionals and quick writing tips, and can be accessed on most podcast streaming platforms. Learn more at carajstevens.com.

 

From Spark to Story

Finding Picture Book Ideas in Everyday Moments

The world is brimming with inspiration for stories—if you know how to spot it. Writing for children isn’t about chasing trends or trying to guess what the market wants next. It’s about tuning in to what young readers need: connection, curiosity, and a bit of magic to make sense of their world.

But where do those ideas come from? Sometimes, they start with a tiny spark—a single moment, image, or question that lingers in your mind. The trick is learning to recognize those sparks and follow where they lead.

Why Do You Write for Children?

Before you dive into a story, it’s worth asking yourself two important questions. A story needs two “whys” to resonate:

    Your Internal Why: Why are you writing this story? What does it mean to you?

    Your External Why: Why are you writing this story? Why will it matter to your readers?

Answering these two questions ensures your story has depth and authenticity. It also helps you connect more powerfully with your audience, making you the right person to tell this particular story.

Learning from the Classics: Disney, Wicked, and Reimagined Tales

Many Disney movies find their origins in classic fairy tales, like Beauty and the Beast and Sleeping Beauty. These stories have stood the test of time, but Disney always seems to find a way to infuse them with fresh perspectives to make them resonate with modern audiences.

Similarly, Wicked—based on Gregory Maguire’s novel, which itself reimagines The Wonderful Wizard of Oz—takes a familiar story and shifts the lens. By exploring the perspective of the so-called Wicked Witch of the West, it reframes her as misunderstood, expanding our empathy and understanding while staying true to the spirit of the original.

Children’s literature is full of similar examples. Eric A. Kimmel’s The Runaway Tortilla reimagines The Gingerbread Man with a Southwestern twist, infusing new cultural elements and humor to make the story fresh and engaging.

What classic tales have left you with unresolved questions? For me, it’s characters who have a mysterious wisdom surrounding them, like the three Mrs. in A Wrinkle in Time, or like the Cheshire Cat. Why are they so wise? Where do they go when they disappear? Or Merlin—what’s his backstory, and what drives him? Exploring these questions can open up entirely new stories that honor the originals while offering something fresh.

Mining these unresolved questions can be a powerful way to generate new ideas. Look for characters or moments that captivate you and imagine the story told from a different angle. This approach not only honors the original but also allows you to address themes and questions that resonate with today's readers.

“Use your imagination.  If your story doesn’t go the way you want it to, you can always stretch the truth.  You can. ask, ‘What if?’  and make up a better story.”  - Nothing Ever Happens on 90^th Street, Roni Schotter

Living the Questions: Mining Your Life for Stories

Rainer Maria Rilke once wrote, “Try to love the questions themselves as if they were locked rooms or books written in a very foreign language. Don't search for the answers... Live the questions now.”

This advice relates to storytelling in such a deep way for me. Instead of seeking fully formed ideas, I like to start with questions. What would make a child care worry about a balloon? What if the ducks in the local pond had a secret? How does soap make things clean? 

Write down any questions that come to you as they happen, even if they seem small or incomplete. Questions are richer than answers because they lead to exploration, discovery, and originality. The stories that arise from them are often the most authentic.

Noticing Sparks in Everyday Life

Finding sparks doesn’t require grand adventures. It happens in ordinary moments—on a walk, in a conversation, or while observing children at play.

Pay attention to what catches your eye or makes you wonder. That little moment might hold the seed of a story only you can tell. And once you have the spark, start asking, “What if?” 

Carry a journal to capture these sparks or keep an open note on your smartphone. Not all sparks will have the power to become stories, but they’ll train you to notice the world in ways that fuel your creativity.

Picture book ideas don’t come fully formed—they start as sparks, small and fleeting. By staying curious, asking questions, and reflecting on your own “whys,” you can turn those sparks into stories that resonate with young readers.

“The joy of writing is that my way-too-many feelings, fears, and dreams often weave their way into stories,” celebrated children’s author Roni Schotter told me in a recent conversation about finding story sparks. Her most recent book, Dragon Dreams, which is coming out on January 28, 2025, by Astra Books For Young Readers, came from a combination of sparks over time that included sibling rivalry and revelry between her granddaughters as well as her own childhood dreams. “I’ve always wished to fly. As a child, I’d race down the sidewalk—arms extended--hoping for take-off.  Sadly, I failed to fly, but in my writing, I can easily imagine flying on the bumpy back of a dragon to a ‘Secret Gathering’ in the sky.” 

Roni shared her sparks for some of her other books as well. The Boy Who Loved Words, which has a treasured place on my own family’s bookshelf, was inspired by her love for the sound, feel, & power of words. And another favorite, Nothing Ever Happens on 90^th Street, was sparked by her realization that stories are all around us, just waiting to be told, and by her deep love of community. In fact, her next book coming out in the summer of 2026, called Step out! Step Up!was also inspired by that same love of community. The take-home here is that sparks are a reusable and a renewable resource and can be used in different ways across different stories, so don’t cross a spark off your list if it keeps igniting ideas!

Your next story might be waiting in a park, in a question you’ve carried for years, or in a moment that feels too small to notice. Pay attention. Ask, “What if?” And follow the spark wherever it leads.

The Power of Less

Write Picture Books with Impact Using Fewer Words

Writing a picture book is a bit like packing for a trip in a tiny carry-on bag. You have limited space, so every item you choose—every word—has to earn its place. The challenge isn’t just about keeping the word count low; it’s about making those words powerful enough to carry half the story while leaving room for the illustrations to shine.

Picture books today are getting shorter. Most traditionally published picture books land somewhere between 500 and 700 words, spread over 32 pages less front and back matter. That’s around 16 words per page—just enough to guide the reader while sparking the illustrator’s imagination. And, just as important, enough to hold a young child’s attention without asking too much of their developing focus.

So how do you make those few words count? Here are a few tricks.

Less is More--Why Fewer Words Matter

If you’re used to writing longer forms, the word count for a picture book can feel cramped. You might be used to describing every detail or be tempted to explain every action. But here’s the truth: your words and the illustrations are partners in storytelling. Words don’t have to do all the work—they need to do just enough to move the story forward, set the tone, and spark emotion.

The illustrations can handle the heavy lifting of description and mood. For instance, a sentence like “Max crashed through the tangled branches, his face red with fear” might be reduced to just “Max ran for his life.”The illustrator can show the tangled branches, the panic in Max’s expression, and the movement of the moment.

“The writer that prunes ruthlessly is the one who becomes published.” 

– Margot Finke, How to Make Editors Eager to Read Your Picture Book

Cross-Examine Every Word: Be the Bouncer at Club Story

Here’s a tip from writer George Saunders that I love: treat every word as if you’re a bouncer at the door of Club Story. If a word isn’t contributing—if it doesn’t move the plot forward, deepen the emotion, or delight the reader—it’s out. No exceptions.

Picture books thrive on rhythm and economy. Sentences with multiple clauses? Split them. Big, abstract words? Swap them for simple, concrete ones. 

The result? It’s cleaner, more rhythmic, and leaves space for the illustrations to tell the rest.

Pro Tip: Keep an eye out in your manuscript for sentences joined by “and”. That could be a sign that your sentence could be shortened and condensed. 

Brooke Warner on the Emotional "Hangover" of Being Published

Over on Substack, publisher and author Brooke Warner shares her thoughts on the emotional aftermath of finally getting published in The Anticlimax of Becoming an Author.

A few standout moments from her essay that are still resonating with me:

When my high expectations met reality, I experienced the disappointment—of not getting the level of media and reviews and accolades I’d hoped for. The imagined compliments I had for my own achievement could have filled their own book. I also never would have said any of this out loud at the time. I just put my head down and dealt with the fact that I was receiving less of everything (media, attention, reviews, sales, compliments) than I would have liked.

This “less than I would have liked” is the rub because short of becoming a best-selling author, getting published is a letdown. It takes perspective and time to digest the wonder of it all. It wasn’t until after my publicity campaign was over that I could really take in the kind words people did have for my book. Write On, Sisters! resonated with readers, just not droves of readers. It was well reviewed and sold decently well, but it wasn’t a bestseller.

...There are many reasons beyond fame and accolades, sales and money, that writers publish their work, of course, but hope and desire and ambition are in the mix. Also, these feelings should be present. They’re part of the fuel that get us to the finish line.

And . . . the hangover is real.

Then Brooke offers three pieces of advice, gleaned from both her own experience and what she's witnessed with the authors she's published. My favorite is get going on your next creative project!

I encourage you to check it out, plug into your creative community to talk it out with friends who have been there or who are going through similar emotions, and maybe most of all be kind to yourself about how your book is doing.

Getting published is an amazing feat, and your book out in the world can have a huge impact on a single reader... think about how YOU have been impacted by a single book. And that's worth celebrating and savoring for the long run.

What other ways have you found to get over the emotional hangover of being published?

Illustrate, Translate, and Write On,
Lee

The Three “Ps” in my Publishing Journey: Practice, Patience, and Perseverance:

After sending out my first picture book submission to an editor in 2009, little did I know it would be 2021 before I would hold my first published picture book in my hands. With over 160 rejections of 11 manuscripts before I received my first “YES”—an offer from an agent—it would be another year and a half (and dozens of rejections with five manuscripts) before I received my first book contract. How did I stay afloat during that long and bumpy journey to my first published book? The Three P’s: Practice, Patience, and Perseverance.

Practice: 

There’s a common saying that it takes 10,000 hours to become an expert at a skill. Even if 10,000 hours is not cut in stone, we all know that to be good at anything–a sport, performance art, etc.–it takes practice. No one becomes an expert overnight. The same holds true in writing. In order to become better at writing, you have to write. A lot. When I decided I wanted to be a picture book writer in 2006, I signed up for a course on writing for kids. I learned a lot about writing through that course but I still had no idea how long it would take to get published.

Throughout the next decade, practice entailed taking classes and workshops, participating in writing challenges (see post here), typing up lots of picture books (see post here), and joining critique groups to improve my writing (see post here). And continually writing new stories. Even if some of my stories didn’t sell, every story I wrote taught me something about writing. They were my practice.

Patience: 

My Mom’s favorite saying while I was growing up was “Patience is a virtue.” I've certainly needed patience in the last 15+ years. . . and still need it now. I’ve learned that once I get some words down on paper—that awful first draft—I need to let them sit. Then revise. And let them sit. And revise some more. No matter how much of a hurry I am to get a story submitted to my critique group or editor, my stories need time. They need to sit on that piece of paper and also simmer in my brain for a few days, a few weeks, or even a few months. Only then can I see my words with fresh eyes and find a way to make them better.

Another need for patience in this industry is in the submission process. This industry is SLOW. Molasses slow. After submitting to either agents or editors, it might be months or even a year, before you hear back. If you hear back. Even now that I am agented, a story might sit in an editor’s inbox for months. While waiting is hard, the best advice is to just write another story. Patience is easier when you are busy. (Another saying my Mom was fond of.)

Perseverance: 

Rejection is par for the course. To get traditionally published, you have to be ready for it. Thick skin is an absolute necessity. During my first few years as a picture book writer, I kept revising the same two stories. I thought that if I just made the right changes, they would sell. The truth is, not every story will sell. It finally dawned on me that I had to let go of those two stories and write new ones.

Sometimes perseverance meant taking query sabbaticals when my stories weren’t gaining traction. Did I need to revise those stories? Or should I write new ones? Either way, it meant more “write, revise, repeat.” Many times I considered quitting. But I knew that while there was no guarantee I would ever find an agent or editor interested in my stories, if I quit, that guaranteed I would never be published. So I kept going.

I still needed to persevere even after I signed with with my first agent in 2017. A lyrical picture book had caught her eye and I thought a book contract was right around the corner. Alas, it wasn’t. Even after four or five acquisition meetings, that first story never sold. And my agent tried hard, SO hard to sell it. The market was just not interested in it. We went on to sub three more picture books—another lyrical one and two picture book biographies. By spring of 2018, with still no offer, she suggested I try something different. So I changed tactics and wrote a rhyming nonfiction one about animal adaptations. And finally, in 2019—a full year and a half after I signed with my agent—we had an actual offer. FREAKY, FUNKY FISH: ODD FACTS ABOUT FASCINATING FISH came out in May 2021, about 15 years (and 11 manuscripts) after I submitted my first picture book. 

Not everyone's writing journey will take as long as mine did. (During those 15+ years, I was also raising three boys.) Many writers find success much quicker. But, the children’s literature industry is hard. Rejection can take its toll. I now have three picture books published with two more on the way. Will I sell another one? I’m not sure. But when I get discouraged, I remind myself that practice, patience, and perseverance won’t guarantee anything, but they’ve gotten me this far. All I can do is to keep on trying.

©Yanka Photography

Debra Kempf Shumaker started reading at the age of four and hasn't stopped since. She grew up on a small dairy farm in Wisconsin but now writes picture books from her home in the suburbs of Northern Virginia. She is the author of FREAKY, FUNKY FISH (2021), TELL SOMEONE (2021), PECULIAR PRIMATES (2022), and the upcoming WIND IS A DANCE (October 1, 2024). 

Debra is a member of SCBWI, several critique groups, and also a co-host of #PBPitch, a Twitter pitch party for picture books. Debra reviews picture books on Instagram every Monday, Wednesday, and Friday, firmly believing there is a picture book for every reason, every season, and every age. Visit her online at www.debrashumaker.com, on Twitter or X at @ShumakerDebra, on Instragram at @debrakshumaker, and Bluesky at @debrakshumaker.

Using Writing Challenges to Move a Story Forward

The Internet is full of writing challenges: NaNoWriMo, StoryStorm, 12x12, and more*. And those writing challenges are a great tool for moving your story forward.

*The various writing challenges are explained in more detail at the end of the post.

My debut picture book, FREAKY, FUNKY FISH: ODD FACTS ABOUT FASCINATING FISH, is the result of several writing challenges. In November 2012, I was participating in Tara Lazar’s PiBoIdMo while at Disney and wrote down Idea #32 “fish in a zoo” after seeing how many fish were named after animals. In 2013, I used that idea and wrote a first draft of a fiction story called NOT A GOLDFISH as a part of Julie Hedlund’s 12x12 challenge. That book never sold. But, in spring 2018, I was brainstorming topics for a rhyming, nonfiction picture book and I remembered all the strange fish from that earlier book and thought that might be a fun topic. I joined Paula Yoo’s NaPiBoWriWe and wrote a new draft about odd fish. After a few months of revisions, I sent it to my agent. In January of 2019 I had my first offer on a picture book! FREAKY, FUNKY FISH came out in May 2021.

My upcoming picture book, WIND IS A DANCE, is also the result of a combination of writing challenges. First, I came up with the idea during PiBoIdMo in November of 2015. For Idea #18 I wrote, “Lyrical NF book about wind—different types? (Similar to WATER IS WATER.)” In February 2016, The Lyrical Language Lab Alumni Group on Facebook had a “poem buddy” challenge in which we emailed poems to each other throughout the month. I decided to take my PiBoIdMo idea and wrote poems on wind. Eventually, I revised and strung those poems together to create a picture book. That book found a home with Kids Can Press and WIND IS A DANCE comes out on October 1st.

Other writers have also found success with writing challenges:

Katrina Swenson’s upcoming debut picture book, LOVE, GRUMBLE, is the result of a writing challenge. Katrina says, “The story started out as a Susanna Hill Valentiny story in 2018. I got an honorable mention and was so encouraged. . . I flushed it out into a full-length manuscript, and then revised it a billion times before earning a PB Chat mentorship with it in 2020 where I revised it some more.” In 2022, Katrina signed with an agent. LOVE, GRUMBLE sold in 2023 and will be released Fall 2026. 

Kelsey Gross also has a success story from Susanna Hill’s contests. Kesley says, “At the end of November 2020, I was already thinking about writing a winter solstice book when Susanna Leonard Hill announced the guidelines for the Kidlit Holiday Writing Contest. That year, all entries had to focus on “helping”. The line, I can help to shine the light! came to mind, and soon I had a draft featuring this repeated line.” Kelsey was a finalist in the contest and she lengthened the story before submitting it to her agent. In January 2021 her agent subbed WINTER: A SOLSTICE STORY and it soon sold to Paula Wiseman/Simon and Schuster. It came out in 2023. 

@Electric Ad Agency

Lisa Katzenberger’s picture book, IT WILL BE OK: A STORY OF EMPATHY, KINDNESS AND FRIENDSHIP, was inspired by this fun photo she saw on Twitter. In January 2017 she wrote her first draft of the story for Julie Hedlund’s 12x12. A few years later, through an SCBWI opportunity, she submitted the story to Sourcebooks. The editor acquired it and it came out in 2021.

Not only do writing challenges provide momentum to get words down on paper, they also help writers find community. Over the 10+ years that I’ve been writing, I’ve participated in many challenges including ones for revision, for studying mentor texts, etc. I not only moved my stories forward with these challenges, I also made some great friends. 

While some of these writing challenges have fallen by the wayside, if you’re looking for a challenge to help your writing and can’t find one, consider creating your own! All of these challenges started out with a writer who had an idea to help other writers. Maybe a new one started by you can help others find success, too.

Here is a bit more about the challenges mentioned in this post:

Tara Lazar’s PiBoIdMo (Picture Book Idea Month) used to be every November and just for picture book writers. But in 2017 Tara moved it to January, renamed it Storystorm, and is open to writers for all ages, not just picture books. More info can be found here: https://taralazar.com/storystorm/. Participating in it is free.

Julie Hedlund’s 12x12 is a challenge for picture book writers to write a rough draft every month for a year. But it's so much more than that. Membership includes a community forum, webinars, opportunities for critiques, and more. There are different levels of memberships at different price points, with the highest level providing submission opportunities to agents. More info can be found here: https://www.12x12challenge.com/membership/.

Paula Yoo’s NaPiBoWriWee (National Picture Book Writing Week) was a challenge to picture book writers to write one rough draft every day for one week. While it no longer happens, her website still has great posts from when it ran from 2009 - 2019. Check it out for some inspiration! https://napibowriwee.com/.

The Lyrical Language Lab is an online class taught by Renée LaTulippe. After the course, you can join the Alumni Group on Facebook. In 2016, Renée created a "poem buddy" challenge. While there aren't always challenges with this group, the class is top notch if you want to learn more about writing lyrically. More information can be found here: https://www.reneelatulippe.com/lyrical-language-lab/

Susanna Leonard Hill’s Writing Challenges: Susanna is an author who hosts holiday-themed writing challenges on her blog for Valentine’s Day, Halloween, and the December Holidays. More info can be found here: https://susannahill.com/for-writers/contests/

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Debra Kempf Shumaker started reading at the age of four and hasn't stopped since. She grew up on a small dairy farm in Wisconsin but now writes picture books from her home in the suburbs of Northern Virginia. She is the author of FREAKY, FUNKY FISH (2021), TELL SOMEONE (2021), PECULIAR PRIMATES (2022), and the upcoming WIND IS A DANCE (October 1, 2024). 

Debra is a member of SCBWI, several critique groups, and also a co-host of #PBPitch, a Twitter pitch party for picture books. Debra reviews picture books on Instagram every Monday, Wednesday, and Friday, firmly believing there is a picture book for every reason, every season, and every age. Visit her online at www.debrashumaker.com, on Twitter or X at @ShumakerDebra, on Instragram at @debrakshumaker, and Bluesky at @debrakshumaker.