ASK A PICTURE BOOK EDITOR How To Make Your Picture Book Prose Sing
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BE SPECIFIC!
For
instance, in Kes Gray’s bestselling book BILLY’S BUCKET, illustrated by Garry
Parsons, Billy wants a bucket for his birthday. This in and of itself is a bit
bonkers and totally memorable. The person reading thinks, “Huh, why a bucket?”
You have to read the book to find out.
Billy doesn’t just see a bunch of sea creatures in his bucket. He sees SPECIFIC creatures. He fills up his bucket and says, “I can see a rock pool with crabs and seaweed and little shrimpy things.” This voice sounds just like a child’s, doesn’t it?
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From Billy's Bucket by Kes Gray & Garry Parsons |
Here’s another example from CHICKEN NUGGET IN SCRAMBLED EGG by Michelle Robinson, illustrated by Tom McLaughlin:

The author begins the story with:
“My name is Nugget,
Chicken Nugget. This is my family . . .”
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From Chicken Nugget in Scrambled Egg by Michelle Robinson & Tom McLaughlin |
On spread
2, we find out that the baby egg, Benedict, will be hatching soon and that his
big brothers aren’t very impressed.
“Benedict can hear EVERY word,” Mum warns. This, too, is an
intriguing (and funny) premise – the egg is a living, being thing that is
already part of the family. It deftly sets up the possibility of lots of things that
can go right, or wrong, as a result.
When Chicken Nugget tries to be kind to his
baby brother, the author chooses a SPECIFIC example of how this plays out.
Chicken Nugget decides to let Benedict share his crayons (e.g. he draws a face
on him). It is funny – and memorable.
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From Chicken Nugget in Scrambled Egg by Robinson & McLaughlin |
Here's another example from the Emily Brown series by Cressida Cowell and Neal Layton:
In her adventures, Emily Brown is always off somewhere SPECIFIC in her play. In the opening scene of EMILY BROWN AND THE ELEPHANT EMERGENCY, they aren’t playing explorers or similar, Emily Brown and Stanley are "whitewater rafting down the turbulent waters of the Zambezi River with their great friend Matilda".

In her adventures, Emily Brown is always off somewhere SPECIFIC in her play. In the opening scene of EMILY BROWN AND THE ELEPHANT EMERGENCY, they aren’t playing explorers or similar, Emily Brown and Stanley are "whitewater rafting down the turbulent waters of the Zambezi River with their great friend Matilda".
And Matilda’s mummy isn’t just worried about
her, she’s worried about SPECIFIC things, like not having her "nice clean socks" and "getting frostbite on her trunk” or that “a T. Rex might give Matilda a nip with his
pointy teeth”!
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From Emily Brown and the Elephant Emergency by Cowell & Layton |
Together, all these details add up to create a rich
fabric of narrative, character and setting that are such a pleasure to read
aloud to a young child!
The pre-school market is cluttered with
books about diggers, firemen and first experiences. But in A DAY AT THE ANIMAL AIRPORT the author/illustrator
Sharon Rentta creates such a vivid, funny, textured world that it is a delight to young readers discovering how things work for the first time!
Sharon Rentta uses SPECIFIC details
throughout to create a rich, detailed experience for young readers. For
instance, when they are going through airport security, the narrator explains that all
bags are x-rayed. “These are some of the
things you can’t take with you: water pistols, fireworks, sharp objects” (a
dog’s spiky collar). And:
"Some passengers have their pockets searched” (Kangaroo)
“Others
have to take off their belts and shoes. Then everyone queues up to walk through
the metal detector. It’s a bit of a squeeze for a hippo. It’s important to put
your belt on afterwards, or your trousers can fall down.”
While
waiting for their flight, “Mum tries on a
bikini”, “Sharon makes herself a spaghetti hat” (note she doesn’t spill
spaghetti all over her head or make a huge mess, she makes a ‘spaghetti hat’!),
and Kai’s sandwich “can fly like an
aeroplane”.
Will you
remember these funny, poignant vignettes because they are so SPECIFIC? YES!
In Mo
Willems’ GOLDILOCKS AND THE THREE DINOSAURS
the author turns the traditional tale on its head by replacing the three bears with "some dinosaurs (one of whom happens to be visiting from Norway)".

the author turns the traditional tale on its head by replacing the three bears with "some dinosaurs (one of whom happens to be visiting from Norway)".
But Willems
doesn’t stop there. He also plays with scale:
The yummy
bowls are way up at the "top of that
counter" (Goldilocks needs a ladder!).
ALL the
chairs are "too tall" . . .
The beds
are "gigantically big".
Plus
Willems adds a further twist to the story by replacing the porridge cooling in
the bowls with irresistible "chocolate
pudding".
All these
SPECIFIC turns of phrase and details add up to create a story that is hugely
amusing and original.
In Jill
Murphy’s classic FIVE MINUTES’ PEACE, Mrs Large is on a quest to enjoy five
minutes to herself away from her three little ones. She prepares a tray of tea
and cake, runs a lovely bubble bath and sinks into it.
Of course,
she is promptly interrupted by each child. Here, the author doesn’t say the
child interrupted her or that Mum is annoyed. Instead, each instance is made
poignant by a SPECIFIC example of how the child asks for a bit of Mum’s time:
Lester says, “Can I play you my tune?”
(on the recorder); Laura wants to read a page from her reading book; the little
one ‘gives’ Mum a "trunkful of toys" and flings them on top of long-suffering Mrs Large in the bathtub.
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From Five Minutes' Peace by Jill Murphy |
Finally,
all three children get in the bath (the little one in his clothes!) – and Mrs
Large gets out and seeks respite at the breakfast table . . .
. . . where she gets “three minutes and forty-five seconds of peace
before they all came to join her.” The SPECIFIC wording of the time in the
punchline is a nod towards the refrain and functions artfully as the cymbal
crash after the drum roll – this is what it’s like to be Mum.
Whether you’re considering your premise, your characters, your plot or editing the fine elements of your prose, think about whether you can make what you’ve written more SPECIFIC, more detailed, more memorable, more poignant, just MORE. This does not mean cluttered or fluffed up with extraneous details, for every word must still count.
Try it! It could make the difference between a mediocre picture book and one with voice and verve.
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From Five Minutes' Peace by Jill Murphy
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Whether you’re considering your premise, your characters, your plot or editing the fine elements of your prose, think about whether you can make what you’ve written more SPECIFIC, more detailed, more memorable, more poignant, just MORE. This does not mean cluttered or fluffed up with extraneous details, for every word must still count.
Try it! It could make the difference between a mediocre picture book and one with voice and verve.
Natascha Biebow is
an experienced editor, mentor and coach, who loves working with authors
and illustrators at all levels to help them to shape their stories. www.blueelephantstoryshaping.com
Check out the Cook Up a Picture Book Coaching Courses.
Excellent advice Natascaha, Ellie!
ReplyDeleteThought provoking and useful, I'm just about to work through a text of mine again so shall be employing some of these tips.
ReplyDeleteGlad you found these tips useful, thank you!
ReplyDeleteThank you. That's a useful reminder for what I'm just about to work on!
ReplyDeleteThis is excellent! Thank you Natascha and Ellie!
ReplyDeleteThis is brilliant. Thank you so much for the tips!
ReplyDelete