Amazon: A Self-Published Author's Dream

Media Graphic created by 100 Covers
Your manuscript is complete, polished . . . fini . . . ready to hit the big time—and you’ve decided to self-publish your book. Getting ready for publication means your manuscript has been vetted over time with your critique partner(s), a professional editor, and has stood the test of time, meaning during revision you’ve let it sit a few days between revision sessions. Now what?

Publishing on Amazon is the Likely First Choice
Put your mind at ease. My book, a children’s book for 7-11-year-olds, was published on Amazon less than a month ago, and my experience uploading the manuscript and book covers for both the eBook and paperback, was a positive one. Here’s why:
  • Google the question,“Can I have my book formatted and cover created at Amazon?” and you will see several companies offering these services. Or you can go to your book, and see that your eBook manuscript can be formatted with Kindle Create, and cover designed by Cover Creator. Free tools are also available for your paperback.
  • Since I already had illustrations for the book’s cover and interior, I chose to go to professionals to format the book and create the cover, and I’m glad I did. I’ve received compliments on how professional my book looks. I purchased a combination deal with Formatted Books and 100 Covers to do the work. I sent both companies the documents for the manuscript, interior illustrations, and for the covers for the eBook, the paperback, and now a square cover for the audiobook, which is in the making. For formatting, I sent my manuscript in a Word file. All for one low, reasonable price.
Time to Start the Amazon Learning Curve
I went to Amazon KDP and looked over the material—lots and lots of material—and tried not to be overwhelmed. I decided to print the explanations and put them in a 3-ring binder so I could study them at my leisure. That cut down on screen fatigue and actually gave me reassurance, something to hold in my hand, I suppose.
  • First order of business: obtaining an ISBN number. Amazon offers ISBN numbers for free. “Amazon will auto-generate an ISBN number for your print book and an ASIN number for your digital book, register it with Bowker and and even generate the appropriate EAN barcode for the back of your printed book.” (Google, May 28, 2019) 
  • I chose to purchase my own ISBN numbers so that I own them, and went to the source: I purchased ten ISBN numbers for the rest of this series, including the audiobook, and for future books. Note: Ebooks don’t need ISBN numbers. Bowker offers other services which are worth checking out, including getting on their mailing list for self-published authors. Lots of helpful information there.
A few hiccups
  • You need to decide how much royalty you would like to receive, 35% or 70%. I couldn’t find an explanation to help me decide, so I went for it. I chose 70%!
  • Be careful how you price your book: I had the bar code made, also from Bowker, with a nice, low price on it. Then when it came time to price the book while filling out the Amazon questionnaire, my price was lower than the minimum Amazon requires. So, I had to ask 100 Covers to change the book price on the bar code located on the paperback back cover to a higher price.
  • Insert the correct imprint (trade name) for your book. My attempts weren’t accepted, so I called Bowker, a gentleman answered right away, and he told me to go to and plug in the ISBN number. Voilà! There was my imprint!
What Next?
Once your information is accepted into the system, Amazon says your sales page will appear in 72 hours. Mine appeared in 24 hours. Then it’s time to take advantage of all Amazon has to offer.
  • Apply to Author Central to create your Author page.
  • Apply for “Look inside,” a feature that Amazon creates and displays in about five days.
  • Order author copies right away. I ordered ten, which took about two weeks to arrive as books are Print on Demand. I’ve used five of my copies to send to reviewers (with a gift, or swag, that I created as a thank you--more on swag in a future post), and have kept five to give away or sell. I included a note to the reviewers to ask them if they would pass the book on once they’re done with it, and have gotten a positive response on the desire to do that. I reminded them about leaving a review on Amazon (that’s the only place my book is sold right now). Also, I’m taking Carolyn Howard-Johnson’s advice in her terrific book, How to Get Great Book Reviews, and am sending thank you cards and thank you emails to my reviewers.
  • Karen Cioffi, award-winning author and creator and owner of Writers on the Move, posted her review of my book on Carolyn Howard-Johnson’s very helpful website, Check it out!
  • My first newsletter was emailed to my email list that I’ve been cultivating.
  • Swag (author gifts) was made, which I’ll cover in a future post. Hint: recipients have liked my swag because I have made it useful.
  • An audiobook is on the way from Findaway Voices. If you think you had fun writing your book, wait until you hear a professional narrator read it!
  • For my final hurrah, I have purchased Bryan Cohen’s Amazon Ad School to take the next step in selling my book. And when I find time (uh huh!) I plan to register for the free program to distribute my paperback at IngramSpark. My eBook doesn’t qualify because I signed up with KDP Select, which I think authors need to consider. Try this terrific SPF Community on Facebook for help with deciding whether to go with KDP Select or go wide, meaning you can sell your book in any market. KDP Select is a 90-day commitment to sell only on Amazon (with lots of benefits), and is renewable.
  • A note about Amazon Prime: Having your book included in Amazon Prime is by invitation only.
  • A note about KDP and Author Central's Help Desk: It is great! My questions--and there were many--were answered politely and quickly. Knowing this gave me reassurance.
  • Check out my May post "Help for Self-Published Authors" for more tips on getting started on your self-publishing journey:
I’ve enjoyed every step of the way, from writing the book to arriving at this juncture. The next step is cutting out time each day, or on a schedule, to keep track of my ads on Amazon, continue to expand my email list, continue to look for reviewers, and so much more!

Linda Wilson, a former elementary teacher and ICL graduate, has published over 150 articles for adults and children, and several short stories for children. She has recently become editor of the New Mexico SCBWI chapter newsletter, and is working on several projects for children. Secret in the Stars: An Abi Wunder Mystery, Linda's first book, is available on Amazon, The next book in the Abi Wunder series, Secret in the Mist, will be available soon. Follow Linda on

Senses & POV Tips - Descriptive Writing


Senses & POV Tips for Descriptive Writing  By Deborah Lyn Stanley

We strengthen our writing by using descriptive details that develop the topic.
Today let’s talk more about using sense words and choosing the point-of-view.

Use description for fresh, active and believable prose. Write what you see, smell, taste, hear or touch, and include details:
•We write to help the reader see what we see.
•We augment sight with smell to build the vision. Smell has the longest memory of all the senses. English Leather cologne takes me back to dating years with my husband—home-baked bread and chocolate chip cookies too!
•Writers often describe smells in terms of other smells, either good or bad.
•We commonly describe taste relative to memorable occasions by naming the food.
Besides naming the taste or dish, writers often describe taste as sweet, sour, salty or bitter.

What if we use descriptive words for smell and taste that are outside common usage? What if color and shape are borrowed from sight descriptions to indicate a smell or a taste?  Ex.: “squat, plumpy, fluted” “Aroma of lemon blossom flavors my tea.”  “Cloves sting my blistered lips.” “I’m thirsty for sleep.”
Explore outside-the-box-descriptions—and share what you come up with.

•Touch is intimate because to touch something or someone, we must be close. It requires trust.
•Sound often plays a significant role in the writing process. It enhances mood: anywhere from tranquil to suspenseful. Prose can be musical in itself with rhythms, diction, and tone, or mechanical noise, all for the purpose of leading the reader deeper into the story.

The Basics of the three main Point-of-View Methods:
• In a first-person point-of-view, the story perspective is from “I or we”. The writing is filtered through the storyteller’s awareness, with a narrow field of vision from a single point. This can help unify your story by choosing which details to include in each scene. In addition, it helps you organize the details into the sequence the teller notices each detail. First-person POV requires the narrator to be present in every scene or rely on secondary information to relate the feelings or thinking of the character.

•Second-person point-of-view narration is usually you as the main character, placing you in the events of the story.

•Third-person point-of-view narration is an objective report of the story via outward signs and description. This point-of-view freely relates any external and visible information or events happening to anyone, anywhere. It uses multiple camera views, capturing unlimited pictures for the reader. The narrator is free to discuss the past, providing accounts of people, places, or things. But, cannot reveal what anyone in the story thinks or feels.

Enhance your writing—incorporate metaphors, similes, and comparisons.

Earlier Post links in this series—Descriptive Writing for Fiction and Non-Fiction:
Make it with Specificity:
Write it with Research I:

Deborah Lyn Stanley is an author of Creative Non-Fiction. She writes articles, essays and stories. She is passionate about caring for the mentally impaired through creative arts. 

Visit her writer’s website at:   

Visit her caregiver’s website and read the Mom & Me memoir at:

Facebook: Deborah Lyn Stanley, Writer


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Take Action in the Midst of Your Writing Fears

By Terry Whalin @terrywhalin
“Do one thing every day that scares you.” 
― Eleanor Roosevelt

Ive read this quotation in a number of places and many different contexts.  It is a solid action step for every writer. 

Why? Because from my experience, fear can prevent us from taking action and moving forward with our writing. Will anyone want to read what I'm writing?  Will it sell? Can I find a publisher or literary agent? Is my writing good enough to publish in   a magazine or book? The questions in our minds can appear endless.

While I've published a great volume of material over the years, if I'm honest, I have a number of fears that I face each day. The key from my perspective is are you taking action with your writing in spite of those fears.  I have my ideas and pitches rejected and don't hit the mark—yet I continue pitching my ideas and looking for opportunities.

Years ago as a new writer, I was at a conference sitting around with several more experienced and published authors. It was late at night and I was learning a great deal from these new friends. One author who had published a number of books mentioned how every time he begins a new project he had huge doubts and fears in his mind. He wondered if he could do it and if the book would succeed. In the same breath where he mentioned these fears, he explained that he pushed ahead and beyond the fear to write the book. It's the key distinction between those who want to write and those who actually write: they push ahead and take action in spite of the negative thoughts and fears.

Possibly today your manuscript or book proposal is getting rejection letters from agents or editors. From my experience, you have not found the right place for your book when you get rejected. It means you have to keep looking for that right connection or champion. When the rejection arrives (even if that rejection is through no response), you face a critical choice.  You can either take action and seek another opportunity or you can quit and not respond.  Many authors will send out their material one or two times, get rejected and figure no one wants to work with them and publish their submission. Their writing fears have stalled them into no action.  

When you have writing fears, there are several things:

1. Everyone has these fears. Whether they admit them or not, you should understand it is part of the process.

2. The writers who get published, understand timing and the right connection are a critical part of the process. You have to be proactive to find the right connection with your material.

3. Rejection is a part of publishing. Everyone gets rejected—beginners and long-term professionals. The key is what do you do with the rejection. Do you quit or do you look for the next opportunity?

I believe the world is full of opportunity—yet as a writer you have to make the right connection and have to be facing your fears and continuing to move forward with your writing. One of the most published series of books in English is Chicken Soup for the Soul. What many people forget is Jack Canfield and Mark Victor Hansen were rejected on their proposed series 144 times. Now that is a lot of rejection. I'm sure they had fears to face, yet they continued moving forward. You can get some of their story in the foreword for Jumpstart Your Publishing Dreams. Just follow this link to download the foreword and free sample chapter (no opt-in and you can download immediately).

For your encouragement and inspiration, remember this saying. If you need to do so, I would write it out and put it over your computer and read it often:

It will not fly, if you don't try.
Let me know what action steps you are taking to overcome your fears in the comments below. I look forward to reading your insights.

 W. Terry Whalin is an acquisitions editor at Morgan James Publishing. His work contact information is on the bottom of the second page (follow this link).  His latest book for writers is 10 Publishing Myths, Insights Every Author Needs to SucceedOne of Terry's most popular free ebooks is Straight Talk From the Editor, 18 Keys to a Rejection-Proof Submission. He lives in Colorado and has over 200,000 twitter followers

Brandon Sanderson Teaches Writing

I recently discovered these writing lectures by Brandon Sanderson, famed fantasy author, filmed and posted (with permission) free on Youtube.  I've only begun, but they seem very interesting and useful.  Check out the first one here.  Others follow.

Melinda Brasher's fiction and travel writing appear most recently in Hippocampus, Deep Magic, and Twenty-Two Twenty-Eight.  Her fantasy novel, Far-Knowing, is available on Amazon.    

Visit her online at here

Writing in Rhyme

Rhyming, when done right, is a wonderful way to engage children. 

Children, as soon as they’re able, love to rhyme words . . . and this can begin as early as two-years-old: cat-hat, mouse-house. But, to write a rhyming story, a well written rhyming story, is difficult.

You need a good story, rhyme, rhythm/beat, meter, stresses, and more—all this in addition to the already unique rules and tricks in writing for children. And, some writers just don’t have that innate ability to do rhyme well. But, it can be learned.

According to Delia Marshall Turner, Ph.D., the elements of poetry are: voice; stanza; sound; rhythm; figures of speech; and form.

Breaking each element down:

- Voice (the speaker)
- Stanza (the format of lines grouped together)
- Sound (rhyme and other patterns)
- Rhythm (the beat and meter – the pattern of stressed and unstressed syllables)
- Figures of Speech (types of figurative language)
- Form (the type of poem, its design)

Along with this there is perfect rhyme, and approximate rhyme:
Perfect rhyme: tie/lie; stay/day
Approximate rhyme: top/cope; comb/tomb

And, there are many more bits and pieces that go into writing poetry/ rhyme. But, the foundation that holds your rhyming story all together is the story itself—you need a good story, especially when writing for children.

Another great source of rhyming information is the article, “To Rhyme or Not to Rhyme” by Dori Chaconas, in the Writer Magazine, October 2001: “You may write in perfect rhyme, with perfect rhythm, but if your piece lacks the elements of a good story, your efforts will be all fluff without substance. I like to think of story as the key element, and if the story is solid, and conducive to rhyme, the rhyme will then enhance the story.”

This is a wonderful explanation because it mentions “if the story is solid, and conducive to rhyme.” This means that not all stories will work in rhyme, and the writer needs to know whether his will or will not.

So, if you’re interested in writing in rhyme, there are a number of sites and articles online that can help, there are also books available, and classes you can take. Do a Google search for the tools that are right for you.

A great place to start is: 

This article was first published at:

Karen Cioffi is an award-winning children’s author. She runs a successful children’s ghostwriting and rewriting business and welcomes working with new clients.

For tips on writing for children OR if you need help with your project, contact her at Writing for Children with Karen Cioffi.

You can follow Karen at:

Check out Karen's newest picture book: The Case of the Plastic Rings.


Writing - The Perfect Perfection Test

What To Do When A Book Fails

Read as a Writer

5 Steps for Creating Virtual Events

Creating Virtual Events

Even before COVID-19 kept us "safer at home," virtual events were an important part of your business' networking strategy. You could meet new people, learn new things, and develop relationships with others from anywhere in the world.

Now more than ever, virtual events are essential for staying connected, generating business, and having some semblance of a social life. While it's fun and often educational to attend events, organizing virtual gatherings is an even better way to up your visibility, showcase your authority in your industry or niche, and make new friends.   

Here are the basics of producing a successful virtual event:

1. Determine the Purpose. Before you jump ahead to planning the event itself, decide your reason for having it. Is it a mixer to reconnect with friends, family, or colleagues? Do you want to host a webinar to share your expertise and promote your product or  service? Is it a party to celebrate your book's release, a holiday, or other significant event?

2. Decide the Details. Once you know the "why," the rest of the details will fall into place. Choose a date, time, and platform. The top choices are Zoom (for activity and interaction), a webinar solution (like WebEx), or Facebook, where you broadcast a livestream to a group or business page. Another option is to do a virtual party on Facebook and mix up short videos with conversation-starter posts and interactive activities.

You may want to create a panel or conference, and invite other speakers. Or start an ongoing podcast or video show. I will go into that in a later post.

3. Plan and Invite. Once you have your concept, plan it out. Make a short outline of what will happen and when. If you need a script for your event itself, that's fine, but remember to stick with bullet points. When presenting, casual is much more effective. 

Create a Facebook event, a meeting in Zoom, and/or an Eventbrite invite, whatever is appropriate. Then, write up your event and post it on your blog, which you - and others - can share via social media. Invite your friends, community, etc., via Facebook, through email, and in social media posts. 

4. Produce. If you've done all the planning, your event itself should be a snap.  Show up a little early. Greet your guests. And - especially in those mixer situations - keep the conversation going. And remember to have fun!

5. Follow Up. After your event, send a follow-up email to all of your attendees. Thank them for joining you, and also share a little more about who you are, what you do, and how they can connect with you to follow up and/or be notified for future events.

One more thing: After your event, take some time to review what went right and what could have been done better. That way, you can make changes accordingly and plan an even better event in the future.

* * *

Are virtual events one of your 2020 goals? Have you already planned virtual events? Please share your thoughts and experience in the comments.

* * *

Join  my virtual half-birthday party for Your Goal Guide on July 14 on Facebook. Details are here.

Debra Eckerling is the author of Your Goal Guide: A Roadmap for Setting, Planning and Achieving Your Goals. A writer, editor and project catalyst, as well as founder of the D*E*B METHOD and Write On Online, Deb works with individuals and businesses to set goals and manage their projects through one-on-one coaching, workshops, and online support. She is also the author of Write On Blogging: 51 Tips to Create, Write & Promote Your Blog and Purple Pencil Adventures: Writing Prompts for Kids of All Ages, host of the #GoalChat Twitter Chat and #GoalChatLive on Facebook, and a speaker/moderator on the subjects of writing, networking, goal-setting, and social media.

Authors Can Get Reviews Without Paying for Them!

Are you going to plunk down your $ for something tainted?  Carolyn Berates the Skunk-Like Odor Emanating from Paid-For Reviews

By Carolyn Howard-Johnson, award-winning author of The Frugal Book Promoter, now in its third edition
from Modern History Press

There is an old saying: “You can’t teach an old dog new tricks.” I’m revising the adage to: “An old dog can go terribly awry when it tries a new trick.”

Furthermore, by the time a dog is old, he should know better than to take on something that smacks of the word ‘trick’ and he should sure as heck know when to turn up his nose at something that smells like skunk!

No, I’m not losing my mind. And, you may have guessed, I’m not talking about dogs here. I’m talking about the venerable Kirkus Reviews that has been respected by authors and librarians everywhere since 1933 and dozens or others with respectable names among publishers and authors. It is published in print 24 times a year, and has an online branch as well. It critiques some 5,000 titles--books of all kinds--in that period of time. It wields enormous power. A Kirkus review (or lack of one) can make or break a book by influencing the major book buyers in the country--both bookstores and libraries.

Back when I started writing, I wrote to their editors taking them to task for not attaching the names of the reviewer to each of their reviews. Kirkus’ own site says “The reviews are reliable and authoritative, written by specialists selected for their knowledge and expertise in a particular field.” It doesn’t say that these reviews are often (always?) unsigned. It seems to me that anyone with the kind of influence these critics wield over the welfare of a book should be willing--nay, required-- to attach her name to whatever praise or vitriol she dishes out and I told them so. It was my journalism ethics class that made me do it.

That was nearly two decades ago and and it wasn’t long before they upped their game. They violated my sense of ethics by taking paid-for reviews.

Here is what has ticked me off: Kirkus still offers a service to self-publishers and POD authors (and, it has come to light more recently) big publishers who feel their books were passed over unjustly. This isn’t a new ploy.  Fly-by-night reviewers have been preying on desperate authors in this way for some time but Kirkus should know better.

Such Pay-for-Review works against authors two ways. First an entity like Kirkus knows that books it chooses not to review will be their most likely paying customers; this is not a situation that encourages a just, even-handed selection process. Not that the method has ever been something that assured all worthy authors of consideration, but at least there was no reason for this journal--or any other-- not to attempt to choose the crème de la crème of submitted books, or at least the books that best fit their editorial needs.

Second: There is no way that a reviewer who is being paid by the author or publisher of the same work under consideration can offer a fair review to her readers. After all, if the journal bashed 9 of 10 of these books, pretty soon no one would be paying them for a reviewing service! Further, no matter how fair the critique, it cannot be trusted any more than one trusts the press secretaries and spin doctors who work for this or any other president’s administration; when one is in the employ of another, one’s attitude is forever changed, for better or worse.

One of our industry’s promotion gurus recently informed his newsletter subscribers of this new “perk” offered by Kirkus. It would naturally appeal to his readers, many of whom are independent or small publishers or emerging authors. He said, “Do I think this is a good deal? No, probably not.” He feels that because of Kirkus’ fine reputation, it might be worth the fee (several hundred dollars!) for the value of being able to quote something positive from Kirkus.

He isn’t exactly wrong. He’s looking at this like the great promoter he is--something I, with a book out like The Frugal Book Promoter am in total sympathy with. But he isn’t exactly right either. The “assets”  that a publisher or author might reap from plunking down their hard-earned cash is going to be tainted--if not right now then later when people figure out that something here, truly stinks.

I’m dating myself with this story, but in the old days, journalism schools had ethics classes and they still do. We were told not to take out-and-out bribes or to accept gifts and to be very careful to write careful, clean, unbiased copy. TV reared its inexperienced head and producers hadn’t any training in journalism--or, obviously, ethics. The payola scandals emerged from the lush, rich land of TVland and everyone got squeaky clean because now (gasp!) the public had their number.

Well, I’m here to tell you that this is akin to the payola scandals. We have here another cycle. This kind of thing undermines the public trust and that public includes book buyers and the wholesale level and book readers at the retail level.  Thanks to a higher power who loves books we still have Library Journal and a few good newspapers but I worry. So far, Kirkus leads, makes a lot of money and others follow. And if so, our only hope will be to quit using their d--- products so they’ll die a well-deserved death! Let’s hear it from the public.  “Do not foul our free press! Leave our opinion pages and criticism unpolluted.”

If you think I am over-reacting, consider: Our Democratic system is based on free speech and our free press is its watchdog. Speaking of dogs again, they tend to have good noses. Mine is lots less astute and even I can smell something rotten in the publishing world.

More About Today’s Guest:

Carolyn, author of the multi award-winning #HowToDoItFrugally series of books for writers, has given up trying to convince periodicals who suffer from a very thin profit margin from backtracking and has instead turned to a book telling authors and publishers hoe to avoid the pay-for review scam and do it effectively. Find her  How to Get Great Book Reviews Frugally and Ethically: The ins and outs of using free reviews to build and sustain a writing career at

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Children's Books and Back Matter

Are you thinking of writing a children’s book? Or, maybe you’ve written one already.

The majority of my clients hire me for picture books, although I’m getting more and more chapter and simple middle grade clients now. As authors having a book that will be published, it’s important  to know a bit about what should go in the back of your book.

Keep in mind that this may vary, depending on the purpose of your book and the topic. And if you have a picture book, it depends whether you want any information at the back or if you’d prefer having more pages for story and illustrations.

Below are 7 pages you might consider for your book’s back matter, if space allows and the story warrants it.

1. About the Author

This is a page that most authors want in their book. It’s the page where the author can let the reader know a bit about him or her. And, it might be the page you use, if you’re a professional, to show your credentials for writing the book.

This is an important element if say you’re in the healthcare profession. You’ll want the reader to know that you are qualified to give the information in the book.

This page can be used in any children’s genre you’re writing in, including a picture book. 

2. Afterword / Author Notes

On this page, you’ll be able to explain why you wrote the book, how you came up with the idea, and/or what inspired you to write it.

If you have a picture book and have the room on the Author page, add the Afterword there. Every page counts in picture books.

This is another page that’s appropriate for any genre, if page count allows.

3. Additional Information

Depending on the topic of your book, you may want to offer additional information that is fact based.

For example, I’ve worked with a number of mental health professionals and they usually want to give the reader, parent, or other mental health professional helpful tips relating to the topic of the story.

Or, it could be you’ve written a wonderful fiction story about a dinosaur and want to give some facts about dinosaurs in the back of the book.

Another example is a three-book fiction picture book series I have, The Adventures of Planetman. The books are about protecting our environment. The back of these books each have fact-based information that shows children how they can be a super-hero for our planet. 

Whatever the reason or purpose for additional information, you need to be sure you have the room for it. Standard picture books usually don’t.

Additional information pages are an excellent idea for chapter books and middle grade books.

An example of this is my middle grade fantasy set in ancient China, Walking Through Walls. I provided the reader with information on the Ming Dynasty period and also interesting information on Chinese dragons as a dragon was mentioned in the story.

This type of information allows the reader to become more involved with the story. It also gives the parent and teacher more room for conversation with the young reader. And, if you need to add more pages to your book, it’s the perfect filler.

4. Reading Comprehension

Most standard children’s picture books don’t include a reading comprehension page(s). They just don’t have the space.

But if you’re writing a chapter or middle grade book and would like to boost its chances of being picked up for school classrooms and libraries, then definitely include this in your book’s back matter.

Reading comprehension pages help children understand what they just read. These pages ask questions that make the child think about the story and how it can relate to them.

5. Activities

To further engage the young reader and teacher, you can offer activities related to the story.

In “Walking Through Walls,” one of the activities was for the reader to draw a picture of a dragon.

Most picture books don’t include an activities page. Again, there’s not enough room.

6. Glossary

Depending on the topic of your chapter book or middle grade book, you may want to or even need to include a glossary in the back matter of your book.

The glossary lists words that the child may not be familiar with and gives the definition. 

Glossaries are most often used in nonfiction children’s books rather than fiction ones. Although I can see its purpose if you’re writing a fantasy world and created words specific to that world. A glossary would come in handy.

7. Promotional Page

This page is a must for every book, although the picture book may not have room for it. But if at all possible, include this page if you have other genre related books for sale.

You can include excerpts of forthcoming titles and/or titles already available for sale. You can also include a call-to-action (CTA) to sign up for your newsletter or to visit your website.

As an author, you also need to be a book marketer. You need to take every advantage you can to promote your books. And, what better place to sell your other books than to a person reading one of your books.

There are also pages such as an Index, an Appendix, a Resource List, and a Bibliography, but again it depends on the type of book you’re writing and the topic. These pages would not pertain to a picture book.

A Word About Picture Books

The industry standard picture book is 32 pages. There are though also 24 pages, 40 pages, and 48 pages. There are even picture books that are 64 pages. I’ve seen these in children’s fiction and nonfiction self-help books.

The reason 32 pages is the standard is because it’s the best number for cost-effective printing. And, it creates a neatly bound book. It just works out all around to be the best fit physically.

Why I mention this is because while you think you have 32 pages, you really don’t.

The first page (Page 1) and the last page (Page 32) are used to glue the front and back book covers onto the book in many cases.

This brings you down to 30 usable pages.

Well, not quite.

Figure on a minimum of another 4 pages for front matter and back matter. This brings you to 26 pages of text and illustrations – 13 spreads.

A spread is the left page and right page when you have the book open.

If you forego the back matter, and keep all your front matter on two pages, you may have 28 pages for story and illustrations.

But, another factor to consider if you’re self-publishing is that the publishing service may have their own formatting requirements.

I’m working with a series client who was told by the publishing service that she couldn’t use Pages 1, 2, 31, or 32. That left her with only 28 pages for front matter, the body of the book (the actual pages for story and illustrations), and the back matter.

This became a big problem as I wrote the story thinking we had 26-pages for content and illustrations, along with the client's back matter. My client ended up having to go with a 40-page book for the series.

Keep in mind that if you’re a professional, such as in healthcare, and want to include additional information on the story topic, you’ll need more pages. I would strongly recommend a 40-page or 48-page picture book if this is the case. You wouldn’t want to short-change the story or illustrations for lack of space.

This article was originally published at:

You might also like last month's post about your book's front matter:
 Before the Story Begins - The Front Matter

About the Author

Karen Cioffi is an award-winning children's author and a working children’s ghostwriter as well as the founder and editor-in-chief of Writers on the Move. You can find out more about writing for children and her services at: Karen Cioffi Writing for Children. Check out the DIY Page!

And, check out Karen's new picture book: The Case of the Plastic Rings – The Adventures of Planetman.


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