How to Write a Children’s Picture Book

Learning how to write a children’s picture book looks easy at first glance. The word count is short. The illustrations carry so much of the storytelling. The stories are simple to follow. But what that means in practice is that in a children’s picture book, every word must matter, every pause is intentional, and every page turn is part of the rhythm. 

And structure is only part of it. A picture book for children also has to speak directly to the young reader. It has to spark their imagination, draw them in from the very first page, and hold their attention with a story that feels relatable. It has to keep them turning the pages and reward them with an ending that feels both satisfying and surprising. That balance—between craft and connection—is what makes writing a picture book such a joyful challenge. 

This guide breaks down how to write a children’s picture book—and more broadly, how to write a picture book that connects from the very first page. I’ve written and edited more than eighty children’s books, including picture books for Disney, Nickelodeon, and Sesame Street, and I’ve coached dozens of authors through the process. What I’ve learned is that picture books aren’t built on formulas. They grow out of a handful of essentials—guidelines that matter no matter what kind of story you’re trying to tell. 

In this article are five essentials that can guide you through how to create a picture book, whether it’s your first time or you’re a seasoned author. I also go over how to publish a picture book. But first, what is a picture book? 

What is a picture book?

A picture book is usually written for children ages three to seven. Standard picture books are generally 24 or 32 pages, generally designed to be read aloud while the child studies the pictures. 

Standard picture books are generally 24 or 32 pages, generally designed to be read aloud while the child studies the pictures. 

 

And as for the role of pictures? Maurice Sendak once explained it this way: a picture book is “an ingenious juxtaposition of picture and word, a counterpoint… Words are left out — but the picture says it. Pictures are left out — but the word says it.” Sometimes the words tell one story while the illustrations tell another. That interplay is what makes the form shine. It deepens the experience and makes children want to re-read the book again and again. 

To work, a picture book also needs a child or childlike protagonist who has agency. The main character should make discoveries, take risks, and figure things out for themselves. Adults can be present, but they shouldn’t step in to rescue them or deliver the moral. 

And when you reach the ending, it should feel both surprising and inevitable. The reader should think, Of course that’s what happened—yet I never saw it coming. That’s the kind of ending that keeps kids flipping the pages and returning to the story.

To work, a picture book also needs a child or childlike protagonist who has agency.

5 essential craft tips on how to write a picture book

1. How to write a children’s picture book starts with knowing your zero draft and your why

When I begin a coaching or editing session, I always start with two questions. First: can you tell me your story in your own words, from beginning to end? That becomes what I call the zero draft—a rough but essential sketch of the story. 

Second: what was your inspiration for writing this book? What do you hope the reader feels when they finish—comfort, laughter, recognition, curiosity? That’s your “why,” and it becomes the heartbeat of the story.

The zero draft shows where you’re headed. The why keeps you on track to create the feeling you want to leave with the reader.

Armed with both of those answers, you have both a compass and an anchor. The zero draft shows where you’re headed. The why keeps you on track to create the feeling you want to leave with the reader. Together, they prevent you from losing sight of the story’s purpose as you revise.

2. To learn how to write a children’s picture book, read and lean on mentor texts

If you want to learn how to write a children’s picture book, start by reading picture books—especially those published in the last three years. Keep a stack on your desk. Flip through them before you sit down to write. 

I call these comps: your competition, your comparisons, and your companions on the bookshelf. They don’t have to share your subject matter. They can echo your tone, your pacing, or the kind of experience you want your story to give a reader. 

The books you remember from childhood may be beautiful, but they don’t necessarily reflect today’s market. Mentor texts train your ear and your eye. Studying mentor texts is the fastest way to internalize how to write a picture book with strong pacing as they balance brevity, rhythm, and page turns, and they inspire new approaches you might not have considered.

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3. Be brief and be bold with your edits

Picture books thrive on brevity. Most published manuscripts are under 800 words, and many are closer to 500. On the page, that means about 40 words or fewer, often just a line or two. Anything more can drag the pacing down and can hurt the read-aloud-ability of your story. These word limits are a practical guide for anyone learning how to create a picture book that reads aloud beautifully.

Most published manuscripts are under 800 words, and many are closer to 500.

But editing with brevity in mind doesn’t mean you have to strip away the heart of your story. Every word simply must earn its place. To do this, try storyboarding your draft. Think about how suspense builds across the page turns. Children experience the drama of “what happens next” most powerfully in the moment that they flip the page. 

My favorite piece of editing advice comes from Antoine de Saint-Exupéry’s 1939 book Terre des Hommes: “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.” Picture books especially reward that kind of boldness. Reduce your draft in the editing stage like it’s a fine stock set to simmer, boiling off all the excess water until all that remains is a rich, delicious broth that delights the senses.4. Give your main character agency

Agency is one of the most important principles I stress in picture book writing. And by “agency”, I mean that a reader will relate best to a main character who takes action. They want a protagonist who makes choices, faces consequences, fails, gets up again, and finds a solution. 

A reader will relate best to a main character who takes action

Early in my career, I submitted five picture book manuscripts to an agent who was kind enough to give me a piece of feedback that would change my writing forever. “Your main characters aren’t main characters,” he said. They were all being guided, rescued, or explained to by adults. 

Once I rewrote with agency in mind, everything changed. My characters started driving the story instead of sitting on the sidelines. Agency matters because children – and all readers, really – naturally imagine themselves in the story. They want to feel capable, curious, and resourceful right alongside the character. A protagonist who takes action helps the reader build empathy and confidence at the same time.

Children – and all readers, really – naturally imagine themselves in the story. They want to feel capable, curious, and resourceful right alongside the character.

5. Thinking of writing in rhyme? Think again

If you are first learning how to write a children’s picture book, rhyme can be very tempting literary device. It’s musical, playful, and familiar. But it’s also demanding. Every beat has to land. Every syllable has to fall in the right place. Forced rhyme, clunky rhythm, or near rhyme that almost works will pull the reader right out of the story. 

Before you commit, ask yourself if the story truly needs rhyme. If it does, then every word deserves close attention. Read it aloud. Tap your leg as you go. If you stumble, if the rhythm feels forced, if the emphasis doesn’t fall naturally, it’s not ready. 

I often encourage authors to try a prose version alongside their rhyming draft. Lyrical prose can give you the music you’re craving without the constraints. When rhyme works, it adds delight. When it doesn’t, it distracts. Children may not have the vocabulary to explain why the rhythm feels off, but they’ll feel it instinctively, especially when an adult reader stumbles over rhymes that don’t quite work aloud. 

That’s why rhyme deserves your full commitment… or your willingness to let it go.

How to publish a picture book

Once your manuscript is polished, the next question is how to publish a picture book. There are several paths, and it’s worth knowing the differences. 

Traditional publishing

Traditional publishing is the most competitive and the slowest. Finding an agent can take months or even years. If your manuscript is acquired, it may still be a year or two before it appears in print. But the benefits are significant: professional editing, wide distribution, and sometimes an advance on royalties. Small presses in particular are often more open to new voices and worth seeking out. 

Hybrid publishing

Hybrid publishing falls in the middle. You pay for services like editing, design, and distribution. Some hybrid publishers are excellent partners; others make promises they don’t deliver on. A red flag: if someone offers you a contract based on your idea without reading your manuscript, step back. It’s never that easy. My advice: do your research, read reviews, talk to other authors. And if a publisher offers a free call, take it. Ask who owns the rights, how distribution works, and what kind of marketing support they actually provide.

If someone offers you a contract based on your idea without reading your manuscript, step back. It’s never that easy.

Indie publishing

Independent publishing partners are another option. In this model, you own all the rights and bring in support where you need it—editing, illustration, design, or distribution—while keeping full control. It’s a service relationship, not a rights-sharing one, which means you have a partner but remain the publisher of record. 

Self-publishing

DIY self-publishing is the most hands-on. You buy your ISBN, hire your own team, and upload through platforms like Amazon KDP or IngramSpark. Done well, it can be professional and rewarding. Done hastily, it can look amateurish. The responsibility is all yours, but so are the risks and the rewards. 

Choosing a publishing path comes down to alignment. Think about your goals, your budget, and how much support you want through the process. When you understand the trade-offs, you can move forward with clarity and confidence.

Learn how to write a children’s picture book at Writers.com

All of this comes back to one truth: picture books matter. They are windows into the world and doors into the minds of children. They soothe fears, prepare kids for new experiences, spark imagination, invite silliness, and build empathy. They also create lifelong readers.

Learning how to write a children’s picture book—and, broadly, how to write a picture book—means keeping a handful of essentials in mind: respect the form, give your protagonist agency, think carefully about rhyme, and choose the publishing path that fits your goals. Above all, keep your young reader at the center of your decisions. 

And remember—the ending matters most of all. A picture book that closes in a way that is both surprising and inevitable is one a child will want to hear again and again. 

If you’d like to go deeper, my asynchronous course with Writers.com will walk you through the process of writing a children’s picture book step by step. Writing a picture book is one of the most joyful and meaningful creative challenges you can take on—and with the right mindset, it’s one you can absolutely succeed at.

Cara J. Stevens is an author, editor, podcaster and book coach. She has written more than 80 books for young readers based on video games, pop-culture trends, and beloved characters including Pokémon Go, Terraria, and Minecraft and the K-pop groups BTS and BlackPink. Through her weekly column and companion podcast, The Picture Perfect Podcast, she guides aspiring writers on their journey to authorship, helping them develop their craft, find their voice, and share their stories with the world. A native New Yorker, Cara lives in Los Angeles with her husband, two grown-ish children and a loud, fluffy dog named Oliver.