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and I have no idea what to do next. I am so overwhelmed by all the info here. I've read several of the stickies but I am still feeling lost.
I will try that thanks. (I assume you mean how it might be laid out.)
I willl do that, thanks. But isn't that ultimately up to the publisher? (should I ever reach that point.)Yeah - not precisely where the words are on the page, but which words are assigned to each page. Get reveals working on page turns, look for big 2-page splash illustration possibilities, that sort of thing.
I willl do that, thanks. But isn't that ultimately up to the publisher? (should I ever reach that point.)
thank you! I will get that book. this makes so much sense.If the book's picked up by a publisher, their editor and art director will take a look at that in conjunction with you and the artist. But picture books texts do need to be written with some structure in mind - in this case, the constraints (and the opportunities offered) by the 32pp.
So, see OWL BABIES by Waddell and Benson. Martin Waddell writes a story about anxious baby owls waiting for mummy owl to come home; he ramps up the anxiety up steadily, leavening it here and there, and by 3/4 of the way through the book the reader (and the owls) are on tenterhooks. There's no way Waddell didn't plan the next spread - a glorious swoop across the double page-spread from beautiful mummy owl, with just the words AND SHE CAME. That's the big emotional payoff of the book, so he assigned it a big full-bleed image.
You don't need to be prescriptive, really, just understand the beats and the moments in the story and begin to think about how you can use inbuilt structure of the picture book format - at the most basic, page turn reveals and double-page splashes - to accentuate them.
I just ordered it at amazon.
So, see OWL BABIES by Waddell and Benson. Martin Waddell writes a story about anxious baby owls waiting for mummy owl to come home; he ramps up the anxiety up steadily, leavening it here and there, and by 3/4 of the way through the book the reader (and the owls) are on tenterhooks. There's no way Waddell didn't plan the next spread - a glorious swoop across the double page-spread from beautiful mummy owl, with just the words AND SHE CAME. That's the big emotional payoff of the book, so he assigned it a big full-bleed image.
Quick question: In a case where a writer imagines a double spread, it is okay to mention it in the manuscript? Or should that discussion happen after the book gets picked up.
18.
AND SHE CAME
20.
[etc.]