Self-publishing can be a wonderful path, especially if you have a clear vision, a specific audience, and a message you feel called to steward with care.

But before we get dreamy about launch parties and Amazon listings and little kids holding your book in their cutie tiny hands, we need to talk about the actual process of getting the book made.

Self-publishing means you are not only the author. You are also the publisher. You are the one making decisions about editing, illustration, design, printing, ISBNs, distribution, quality control, and literally everything.

Children’s books are visual, physical, and surprisingly technical. They need strong words, beautiful art, clean design, the right format, and a printing plan that makes sense for your goals.

And if you’re creating a Christian children’s book, there’s an added layer of responsibility. We’re not just trying to get a book into the world. We’re trying to tell the truth beautifully and serve real children and families well.

So let’s walk through the path from manuscript to printed book.

If you’re still shaping your story, The KidLit Lab’s Manuscript Masterclass is where I walk through the process of creating a strong Christian picture book manuscript. And if you want help understanding the broader publishing path, including traditional vs. self-publishing, Publishing School goes much deeper.

For now, here’s the overview.

1. Know What You’re Taking On

Traditional publishers usually pay for editing, illustration, design, printing, and distribution. When you self-publish, those expenses are yours. You may hire professionals, and you probably should, but you are the one building the team and making the final calls.

So before you begin, think like a publisher.

Ask:

• Who is this book for?

• Who will buy it?

• What format does it need to be?

• How much will it cost to produce?

• How will it be printed?

• Where will it be sold?

• What quality level do I need to reach for this book to feel trustworthy?

For Christian authors, I’d add:

• Is the theology clear?

• Is the message age-appropriate?

• Does the story delight, or does it only instruct?

• Would a parent trust this book?

• Would a child ask for it again?

2. Set a Publishing Budget

Before hiring anyone, create a real budget. A children’s book budget can include any of the following.

Editing
Proofreading
Illustration
Book design
Cover design
ISBNs
Copyright registration
Proof copies
Printing
Shipping
Author copies
Distribution setup

You’ll also want to add a 10–20% cushion, because…surprise expenses.

Children’s books are often more expensive to self-publish than text-only books because they require illustration, full-color printing, careful layout, and a format that feels good in a child’s hands.

My honest recommendation? Prioritize the manuscript, the illustration, and the design. Readers may not know exactly why a book feels professional, but they can usually tell when it doesn’t.

3. Finish the Manuscript Before You Start Illustration

I know the art is the fun part. But if your manuscript is not ready, starting art too soon can become very expensive. Before illustration, your manuscript should be revised, edited, and paced for page turns.

For a picture book, look at:

Word count
Read-aloud quality
Story arc
Page turns
Repetition
Emotional progression
Ending
Age range
Market fit
Theological clarity
Show don’t tell

Most picture books are under 1,000 words, and many are much shorter. If your manuscript is 1,500 words and you are convinced every line must stay…remember: Children’s book writing is an art of compression. You’re trying to say the truest thing in the fewest right words.

If you’re working on a first draft, my 3-Hour Picture Book Draft can help you get the idea out of your head and onto the page. If you already have a draft and know it needs shaping, The KidLit Edit can help you revise with a more professional eye.

Because around here the goal is not “good enough for self-published.”

The goal is the best it can be.

4. Get Feedback and Editing

At some point, your manuscript needs outside eyes. Not just your spouse. Or your mom. You need feedback from people who understand children’s books. That might mean a critique group, a professional editor, a children’s book author, a coach, or a trusted writing community.

You’re looking for answers to questions like:

• Is the story clear?

• Does the pacing work?

• Is the beginning strong?

• Does the ending land?

• Is the faith element integrated or tacked on?

• Is the language appropriate for the age range?

• Is this actually working as a children’s book?

Christian children’s books can sometimes become message-first and story-second. But children don’t usually ask to reread “a message.” They ask to reread a story.

The message matters deeply. But the story has to carry it.

5. Storyboard the Book

Once the manuscript is strong, begin thinking in pages. Storyboarding helps you decide where the text goes, where the art changes, and whether each spread is earning its place.

Ask:

• Where does the scene change?

• Where does the emotion change?

• Where should a page turn create surprise or anticipation?

• Where does the art need room to breathe?

• Where am I using too many words?

• How many illustrations will I need?

This matters because illustrators usually quote based on the scope of the project: full spreads, spot illustrations, cover art, character sketches, trim size, revision rounds, and so on.

6. Choose Trim Size and Printing Style

Before final art begins, decide your book’s trim size and format.

Will it be square? Portrait? Landscape? Paperback? Hardcover? 32 pages? 40 pages?

This decision matters because art is created for a specific shape. An illustration designed for a square book may not work in a portrait book without awkward cropping.

You also need to decide whether you’re aiming for print-on-demand or offset printing.

Print-on-demand is often easier and has lower upfront cost. You don’t have to store boxes of books in your garage, but the per-book cost is usually higher, and your options for paper, binding, and quality may be more limited.

Offset printing usually gives you better quality and lower per-unit costs when you print in bulk, but it requires a larger upfront investment. You’ll also need to store, ship, and manage inventory.

Neither option is automatically better. The right choice depends on your budget, quality expectations, sales plan, and whether you realistically know how you’ll sell the number of books you print.

7. Hire the Right Illustrator

For picture books, look for someone who understands emotion, movement, character consistency, pacing, page turns, and child appeal. A beautiful style matters, but picture book illustration is more than making pretty art.

Before hiring, clarify:

• Art style

• Number of spreads

• Cover art

• Character sketches

• Revision rounds

• Timeline

• Payment schedule

• Copyright ownership

• Usage rights

• Marketing usage

• File delivery

• Credit

• Cancelation terms

And please hear this! Use a contract! A contract protects you, the illustrator, the project, and the relationship. I have all sorts of sample contracts in Publishing School.

If possible, think about paying for a sample illustration before committing to the full book. This gives you a sense of how the illustrator handles your story, your character, your tone, and your feedback.

8. Hire a Book Designer/Art Director

An illustrator and a book designer are not always the same person. The illustrator creates the art. The designer turns the words and art into a professional book file. A good book designer thinks about:

• Text placement

• Font choices

• Margins

• Bleed

• Gutter

• Readability

• Cover layout

• Back cover copy

• Barcode placement

• Spine width

• Print-ready files

This is one of the most commonly skipped steps in self-publishing. A strong designer can make your book feel cohesive, polished, and professional. A weak design can make even beautiful illustrations feel amateur.

Ask your designer if they have experience with children’s books specifically. Also ask whether they can prepare files for your chosen printer or platform, since Amazon KDP, IngramSpark, and offset printers may all have different requirements. And of course, ask how many rounds of revisions are included.

9. Secure ISBNs and Publishing Details

Before printing, you’ll need your publishing details in order.

Depending on your plan, this may include:

• ISBN (pro tip - don’t use the free one from Amazon or Ingram, buy it here and use the same one no matter where you upload.)

• Barcode (here’s where to get one)

• Copyright page

• Copyright registration

• Publisher name or imprint

• Book description

• Categories

• Keywords

• Age range

• Grade range

• Pricing

• Retail metadata

An ISBN is a unique identifier for your book. If you publish paperback, hardcover, and ebook editions, each format usually needs its own ISBN. (Buy it here.) You’ll also need a barcode for the back cover if the book will be sold in retail settings. (You can get them lots of places, here’s one.)

Your metadata—title, subtitle, description, categories, and keywords—helps retailers, libraries, and buyers understand what your book is. This is also part of distribution, not just marketing. (Use SADIE for this if you want!)

10. Proofread After Layout

Even if your manuscript has already been edited, you need proofreading after design. Text can shift during layout. Words can be dropped. Line breaks can get weird. Page numbers can be wrong.

You can do this yourself, or hire someone!

11. Order and Review Proof Copies

Before your book goes live or goes to print, order proofs. Hold the book. Read it out loud. Turn every page. Check:

• Cover color

• Interior color

• Margins

• Gutter

• Bleed

• Image quality

• Text placement

• Barcode

• Copyright page

• Page order

• Back cover

• Spine

• Read-aloud flow

If something feels off, now is the time to fix it!

12. Print and Distribute the Book

Once your files are final, you can move into printing and distribution.

Your main options are usually:

• Amazon KDP

• IngramSpark

• Offset printing

• Direct sales through your own website

• Some combination of the above

Amazon KDP can be convenient for Amazon shoppers (and is usually fast and cheapest for the customer). IngramSpark can make your book available more broadly to bookstores and libraries. Offset printing can give you a more premium product and better margins at higher quantities, but you’ll need to manage inventory and fulfillment.

If you plan to sell to churches, schools, conferences, ministries, or homeschool groups, think carefully about how those buyers will order. Some may prefer bulk orders directly from you. Some may need invoices. Some may want a purchase order. Some may just want an Amazon link.

You Can Do This!

Self-publishing a children’s book is absolutely possible.

But the best self-published books are not tossed together. They are built carefully. They honor the reader. Respect the child. Tell the truth beautifully. Look and feel professional.

If God has given you a story to steward, it is worth stewarding well, and I hope you make it happen.

Writing Together,

Laura

ps. Want even more help? I’ll take you step by step and give you even more support and resources in Publishing School.

I want help with self-publishing!

He has a few 1:1 Substack coaching spots left this summer, so if you’ve been wanting help sharpening your writing and growing your audience with intention, he’s your guy. Just apply here.

When people ask my profession, I often tell them I’m a full-time writer. This response often gets a lot of “hmmm, okay,” (because I think they think I must be a hobbyist who writes in her diary or something) but sometimes people will dig in and ask questions about what I write and how I spend my days. I’ll tell them about the various things I write: poetry, nonfiction for moms… but when I drop “children’s books,” they 100% of the time gasp and say, “That is so cool! I would love to do that!”

There is something extra special and inviting about being a children’s book writer—because nearly everyone has that one childhood story they just can’t forget. And when we think about giving that same gift to the generation behind us? Suddenly we find ourselves dreamy-eyed at the career possibilities. And I love that! Because I truly believe that anyone can write for children. Not everyone can make a career out of it, but I do believe anyone can be an accomplished author with the right tools (which is why we’re all here—ahem 😉—at The KidLit Lab)!

That said, over the past couple months, I’ve had a big influx of people write to me to say that they deeply want to write a children’s book, but they just don’t have the right idea yet. (Psst! That’s why I created the 3-Hour Picture Book Draft, but more on that later.)

Believe me, I get it! You probably have some great ideas, but just haven’t landed on the right one yet. So if you’re looking for some fresh inspiration, here are five solid places to drum up faith-based story ideas. Most strong children’s book ideas tend to grow from a handful of enduring story roots. Let’s get into them:

1. Identity & Imago Dei (Who Am I, Really?)
These stories begin with the belief that every child reflects something of God—and then ask where that truth is challenged, misunderstood, or quietly revealed. Often, the story centers on a trait, quirk, or way of seeing the world that feels small, odd, or inconvenient until it’s reframed as meaningful. These books don’t shout worth; they assume it, allowing children to discover that who they are was intentional all along. A couple examples:

• Curiosity becomes—quite literally—contagious

• Someone tries to erase all the differences in a town

  

2. Redemption Through Struggle (What Happens When Things Go Wrong?)
Stories in this category grow out of failure, fear, or hardship—not to dramatize pain, but to show how good can come from it. A mistake changes the outcome. A hard season plants something new. Bravery looks like trust instead of fearlessness. These ideas often resonate with children because they honor real difficulty while still holding space for hope. A couple examples:

• The “wrong note” in the song becomes everyone’s favorite part

• A lost thing starts telling its side of the story

3. Belonging & Being Different (Where Do I Fit?)
These stories begin with a child who feels out of place—too quiet, too loud, too much, not enough. The heart of the story isn’t fixing the child, but revealing how their difference matters. Sometimes they become essential in an unexpected way. Sometimes the world shifts instead. These books help children see that being different is not a flaw, but often the very thing that makes community whole. A couple examples:

• Everyone wears the same hat—and one kid dares to wear a different one

• The new kid is from the moon

4. Rhythms and Habits of Faith (How Do We Practice Belief?)
Rather than focusing on big spiritual moments, these stories are rooted in ordinary ones—prayer, rest, worship, Scripture, gratitude, community. They explore what faith looks like woven into daily life: bedtime, school days, chores, daily rituals. These ideas work especially well when they show how God meets children in gentleness and repetition, not spectacle. A couple examples:

• A Sunday nap becomes a family tradition everyone protects

• A storm knocks out the power mid-sermon, but worship keeps going

5. Biblical Retellings (What Happens When Old Stories Are Told in a New Way?)
These stories start with Scripture and ask how ancient truth might feel fresh to modern children. The retelling may shift setting, perspective, or voice—perhaps told through a background character or even an element of creation—while remaining faithful to the text. When done thoughtfully, these stories help children see that the Bible isn’t distant or dusty, but alive and relevant to the world they know. A couple examples:

• Noah’s Ark – God’s rainbow of promise

• Moses and the Burning Bush – holy ground and reluctant obedience

If you’re trying to decide which idea to pursue, you don’t need to choose the most impressive thing, you only need to notice which one keeps resurfacing in your thoughts, prayers, and conversations.

That’s often where your truest story is waiting.

Writing together,
Laura

P.S. If you want a little help with this, I created the 3-Hour Picture Book Draft toolkit just for this—tackle it start to finish or do it in micro-sprints, but either way you can come out the other side of a 3-hour work sesh with a picture book draft you’re ready to fine-tune. 🙌

LET'S KNOCK OUT YOUR PICTURE BOOK DRAFT.

And one theme came through loud and clear when it comes to queries, proposals, and submissions: If you’re going to use AI at this stage, the safest, cleanest lane is to use it as a research assistant—not a writer, not an editor, not a “make me sound better” button.

So that’s what this post is: a practical guide to using AI to gather information for your proposal without outsourcing any part of your authorship.

So what does “AI as a research assistant” actually look like? Here are a few ideas for what to use it for.

1) Comparable titles

You can ask AI to generate a broad list of potential comps by:

• topic/theme (e.g., anxiety, friendship, prayer, identity, grief)

• format (board book vs picture book vs early reader)

• tone (funny, lyrical, quiet, whimsical)

• audience (3–5, 4–7, etc.)

• pub date (last 10 years, etc.)

Then you verify the books exist, look at publication dates, read them (or at least study them), and you decide what truly fits. AI can hand you a pile of leads. It cannot hand you discernment.

2) Agent and Publisher Fit

AI can help you generate a list of Christian agencies and publishers to research, questions to ask as you evaluate fit, and a research checklist so you don’t miss obvious things (genres, clients, preferences, submission guidelines). But you still need to do the human work: read their real bios, review actual client lists, follow submission requirements, and evaluate whether your work truly matches.

From my testing of this, an AI will find quite a few of them, but it will also miss a lot of important ones or have outdated information. AI will get you maybe 70%, but it won’t get you the whole way without real insight from someone who’s been there and done it. If you want help, here’s my curated directory to find an agent or publisher, and I’ve got done-for-you checklists, interviews, and guidance inside Publishing School if you want to go that route.

4) Market language

AI can help you understand the vocabulary of the industry so you can communicate clearly in your proposal.

This is where you ask questions like: what’s the difference between a picture book and an early reader? What’s an imprint? What’s a comp, and why do publishers care? How do categories work in Christian publishing?

While I hope you’re learning a lot of this here at the Lab, AI can be a decent place to get quick definitions when you’re stuck—just don’t treat it like the final authority.

5) Market signals

This is one of the most helpful research uses, because it keeps you from guessing.

AI can help you gather “market signal” leads like: who tends to buy books in your category, what kinds of felt needs or themes are resonating right now, what language those buyers use when they talk about the problem your book touches, and where books like yours tend to get discovered.

To be clear, you’re not asking AI to make up statistics. You’re asking it to point you toward what to look for—questions to answer, channels to consider, and the kinds of phrases that show up again and again in real-world book descriptions and conversations.

And here’s where I think my new FREE tool, SADIE can be especially helpful. I shared more last week, but I do hope you check it out and explore your book idea and/or gather quotes and illustrations for your project. If nothing else, it’s a great way to explore using AI!

To wrap this thing up: If you want a quick boundary based on my interviews with publishers:

AI can collect information faster and more organized you could find on Google.
AI shouldn’t produce sentences you plan to submit.

Remember: query letters and proposals aren’t just admin. They’re part of how agents and editors evaluate you—your clarity, your thinking, your voice, your readiness. And I want you to have every opportunity to show that off honestly.

Writing Together,

Laura

ps. I’ve had quite a few requests lately for manuscript editing. Did you know I do that? Check it out here if you’d like me to take a personal look at your children’s book.

Once I started talking publicly about how I was using AI and Vibe Coding, I had a writer-friend reach out to ask if I could do a bit of research for him with my pro AI plan for a nonfiction book he was working on. While I could have done the research for him and sent it to him with a few clicks, I thought, “I’ll do ya one better, I’ll make you a research assistant you can use again and again.”

And so I did.

Meet SADIE

SADIE stands for “Source and Discovery Information Engine”—which is a fancy way of saying it finds you trustworthy material to work from AND it helps you research and market your book idea.

Think of it like a cutie little research assistant for you and your book to help you find quotes, source material, examples, illustrations, and supporting data for whatever you’re writing. It pulls from Christian, mainstream, and academic sources, and it knows its way around Christian publishing in a way generic AI tools don’t.

Here’s what a few of my writing pals said about it:

“Laura has created every writer’s dream: an AI research tool that doesn’t write for you, but puts more tools in your hands. I highly recommend SADIE!”
--Will Parker Anderson, Senior Editor, Penguin Random House

“I’m a skeptic when it comes to AI—but SADIE has convinced me that there are helpful, right ways to use it as a supportive tool in the writing process.”
—Kristen Wetherell, author of numerous books, including For the Bible Tells Me So Board Book Series for Little Ones

"SADIE allows me to quickly access articles and books from trusted theologians, commentators, and authors across church history, freeing me up to spend less time searching and more time actually reading, thinking, and writing—and it has already become an invaluable part of my process."

-Emily Jensen, author of numerous books including Risen Motherhood and He Is Strong.

What It’s Useful For

SADIE is especially helpful for when you need to figure out what is the best market positioning for your book, who your target audience is, and when you know what you want to say but need stronger support for it: a quote, a historical example, a statistic, a biblical reference, a credible voice that backs up your argument.

It’s also useful when you’re still building background knowledge before you write—when you need to understand a topic more deeply before you can say something meaningful about it.

For kidlit writers specifically, that might look like:

- Researching the theological grounding for a picture book concept before you pitch it

- Understanding your target demographic and how to meet their needs best

- Building out the “why this book, why now” section of a proposal with real cultural context (you still write it, just let this give you ideas)

- Sourcing material for an author’s note

- Determining what publishers might be most open to your book idea

And if you write for adults too—devotionals, nonfiction, essays—SADIE works for that as well. It’s built for Christian writers broadly, so bring whatever you’re working on.

How SADIE Works

When you open SADIE, it’ll ask whether you want to quick start on marketing or positioning, or if you want to do a full intake interview. If you pick the intake interview, here’s a sample of what it asks:

- What is your topic or working title?

- What date range should I prioritize: recent material, historical, or a mix?

- What source mix do you want: Christian voices, academic research, mainstream reporting, ministry resources, cultural commentary, or a balanced blend?

- Any theology or denominational preferences I should respect?

- Any voices, outlets, or traditions you want included—or avoided?

- What kind of material would help most: quotes, stories, stats, case studies, scholarship, cultural examples, biblical/theological framing?

If you’re going for deep research, it organizes findings into a source sheet. Right now that comes as an Excel file—not beautiful, but functional (and let’s me keep SADIE free). But you can also just have a conversation with SADIE and “follow your nose” seeing where it takes you and what you learn. Everyone I’ve talked to has been super impressed by the way SADIE is able to guide them.

As a note, SADIE runs inside ChatGPT, so if you click on any of the links here, it’ll take you to the fancy front door (just so ppl aren’t so scared of it) then when you are ready to research, it’ll take you to the Agent in ChatGPT. Doing it this way was the only way that I could keep it free and keep the results still decent.

Perhaps if there’s enough desire for it I can build it out so the results are super pretty and don’t require going to an outside AI, but for now, this is just a fun little hobby project I thought I’d kick out the door.

Please use it and share it all you’d like!

Enjoy! Writing (and using SADIE) together,

Laura

ps. Since this is a free tool, I’m not offering any troubleshooting tips on it, but if you see anything major or somehow get terrible answers, I’d love to hear. Still learning over here. Always in process.

Answer? It depends.

Sorry!

It really does depend on what you offer, your experience level, your location/audience, and whether you are doing one quick local library stop or a full day of presentations with travel, planning, book coordination, etc.

But never fear. I did a big old informal survey of about 20–30 author visit webpages from reputable children’s book authors to see what people are actually charging, what those rates include, and how they structure them. Not everyone shared public pricing—many simply say “email for rates”—but enough did that some very clear patterns emerged. And today, I’m sharing them with you.

First, remember what a school is paying for

A school is not just paying for the 30 or 45 minutes you are standing in front of students.

They are paying for:

• your preparation (usually a LOT of time)

• your expertise

• your planning and communication

• your travel, if applicable

• and then finally, your actual presentation

This happens a lot in speaking as well where we only think about pricing for the actual event, but forget about all the other time spent prepping for it. So you have to remember that the school is not paying for “one hour in a gym.” But a real service—one that took time, thought, and practice to build.

So what does the market rate actually look like?

Based on the public rates I found, the lowest posted price was $75 for a short local session, and the highest was $1,800 for a full non-local day, depending on travel. That’s wide range. But once you look at what each rate included, it starts to make more sense.

Here’s the basic pattern I saw:

• Virtual visits tended to be the lowest-priced option, often around $150–$300

• Single in-person sessions often landed in the $225–$600 range

• Half days were commonly around $600–$950

• Full days often landed around $1,000–$1,400, with some non-local full days going up to $1,800

What lower-priced visits usually included

The lower end usually meant one of three things:

• a short local visit

• a virtual visit

• a session tied to book sales or preorder minimums

For example, some authors offered a brief local presentation at a lower rate if the school hit a certain preorder threshold. Others offered one virtual classroom visit or one short local read-aloud plus Q&A.

What the mid-range often included

Once rates moved into the $250–$600 zone, I usually saw one solid in-person presentation, sometimes with a Q&A, and other times with a workshop element or signing built in.

This is probably the most useful range for newer or mid-stage authors to pay attention to, because it reflects a pretty normal school-visit offer a presentation + workshop or signing.

What half-day and full-day visits usually included

Half-day visits usually meant things like:

• 2 presentations

• 1 assembly + a signing

Some mix of mix of smaller sessions and larger group time

Full-day visits often included:

• 3–4 presentations or workshops

• book signing time

• lunch with students

• sometimes teacher conversation or a bonus session

And once authors were offering a full day, travel almost always mattered more. Local and non-local pricing often split at that point.

Start with your offer, not the number

Before you decide on pricing, get clear on what you’re actually selling.

Is it:

• one assembly?

• two presentations?

• a half day?

• a full day?

• a virtual visit?

• a small-group writing workshop?

• a keynote plus classroom sessions?

The clearest pricing comes from a clear offer. If you are just getting started, it is okay to begin at a lower rate while you build experience, testimonials, and confidence.

Make your pricing easy to understand

Once you know your offer, then you can start attaching a number to it. And here’s what I’d say: Go for clarity and simplicity with your pricing. Offer 1-4 options.

A clean structure might look like:

• Virtual single session: flat rate

• Local in-person single session: flat rate

• Half day: flat rate

• Full day: flat rate

Travel billed separately if needed.

And yes, you can absolutely say something like:
“Rates vary depending on location, number of sessions, and whether the visit is virtual or in person. Please email for more information.”

Final thought

Sometimes I know it’s hard for us authors to charge for anything, “But it’s for the kids!” But you have a true value to deliver, and so your goal is to charge in a way that reflects the value of what you offer, the work required to deliver it well, and the season of career you are in. This will help you continue to engage in school visits with excitement long after the vanity of being asked is over.

And if you want to get your author website up and running in the next hour or so, head on over to Parlor and get it done!

I need a website for school visits!

Writing together,
Laura

First and foremost—I changed the pricing. No more build fee. It's now just $129/year, (Founder’s Price) full stop. I watched how people moved through the platform and decided the simpler the better and truly want to make sure this is an affordable option for you all. You shouldn't have to think twice about getting your author website live and I hope this pricing change will help!

Okay on to the good stuff—here’s everything new that just went live:

The wizard now has sample language throughout. Every field has examples and prompts so you’re not staring at a blank box having an existential crisis about how to describe yourself as an author or how one section differs from another. We don’t use AI to write for us, but examples always help.

A new Editorial template. Bold, gallery-style, huge type, full-bleed photos. This is the power play template!

More color palettes. Warm ivory, soft clay, plum, navy, marigold, teal, periwinkle—we expanded all three palette families so you have options!

Site analytics. See who’s visiting, where they came from, what they’re clicking. Right in your dashboard.

A share preview link. Send a private link to your agent, your spouse, your most honest friend—before you publish or pay a single thing. Get the feedback, THEN go live.

Book section redesign. Now books are full-width, your cover as the hero. More breathing room. Way more impact. And if you’re not published? No worries. You still have a great spot to share what you’re working on.

Endorsements for books. Add a blurb to each book description so people can see a review.

ISBN import. This ones fun. For those of you who’ve written 1 book or 12, drop in one ISBN, and Parlor will pull your whole backlist automatically.

Anyway—if you’ve been meaning to get your author website sorted and keep pushing it to next month, this is a pretty great week to just do it. Your site takes only a few minutes to publish once you’re in the wizard, and then you have an actual home base on the internet that belongs to you.

I need a website!

And hit reply if you have questions—I read every one.

Writing (and building websites) together,

Laura

Later, when you have more books.

Later, when your website is better.

Later, when you feel more official.

But I think a lot of authors underestimate school visits because they think of them as a bonus feature of author life rather than a meaningful part of it.

For the right author, school visits aren’t random. They’re one of the clearest ways your work leaves the page and enters a real room full of actual readers.

They can support book sales, yes. But they can also build your platform, strengthen your local visibility, deepen your connection to kids, and give schools something genuinely worthwhile.

And in the end, that’s the whole point, right?

The kids!

School visits can matter.

There’s actual research behind the value of author visits, especially when it comes to reading engagement. The National Literacy Trust found that children who’d experienced an author visit were more likely to enjoy reading in their free time and more likely to read daily than children who hadn’t.

Why? Because when kids meet authors, books become more personal.

A book is no longer just an object on a shelf. It becomes the book by the person who came to my school.

Children are relational readers. They remember the story behind the story. They remember the weird fact you shared. They remember the sketch you showed them. They remember the moment they got to ask a question and you answered it like it mattered.

And sometimes, that’s the thing that makes them want to take the book home.

But do school visits actually sell books?

This is where we need to be honest.

There’s stronger research showing that author visits support literacy engagement than there is research proving they directly sell books.

But in the children’s book world, we also have a lot of industry practice and author stories that show school visits can absolutely move books when they’re done well.

One author, Cathey Nickell, wrote for IBPA that she limits herself to about 25 school visits per year and typically sells anywhere from 10 to 110 books per visit. At some large schools, she’s sold as many as 200 books in one day.

That’s significant!

But there’s a reason she can sell so many.

The visit itself is only part of the sale.

If you want school visits to support book sales, you can’t rely on day-of magic.

You need a process. Parents need to know ahead of time. Teachers need to know what’s happening. The school needs a simple way to order. And the student needs a reason to care.

This is what turns a school visit from “an author is coming on Thursday” into an actual event.

The best school visits give students a real experience with the author. That might mean a short lesson on where ideas come from, a Q&A about what authors actually do, a behind-the-scenes look at drafts and revisions, or a simple writing activity tied to the book.

Some authors build their visits around craft. I’ve had clients teach illustration. Some talk about research, creativity, publishing, or what it means to make books for a living. I’ve even had clients add elements like a magic show. Not because every visit needs a gimmick, but because the visit becomes clearer and more memorable when there’s something specific for students to participate in.

So should you add school visits to your offerings?

Maybe.

Helpful, I know.

But really: maybe.

Not every author should add school visits right now. Some of you need to finish the manuscript first. Some of you need a clearer website. Some of you need to understand your audience better.

Also, some of you would rather do almost anything than stand in front of a room full of children.

That’s useful information! Ha!

A school visit isn’t just a marketing tactic. It’s a live teaching and presenting offer. You’re selling a book, but you’re also selling your ability to create a meaningful experience for students.

So instead of asking, “Should authors do school visits?” Ask: Do school visits fit your books, your strengths, your season, and the kind of author career you want to build?.

A quick gut-check

School visits may be worth adding if:

• You enjoy interacting with kids.

• Your book or message connects naturally to schools.

• You can create a clear presentation or workshop.

• You want to build local visibility.

• You are willing to treat it like a professional offer.

• You understand that book sales require a plan

And school visits may be a “not yet” if:

• You do not have a book available or close to available.

• You do not have a basic author website.

• You cannot yet explain what your visit would help students learn or experience.

• You are in a season where the logistics don’t make sense

There are many ways to build an author life. For the right author, in the right season, with the right offer, school visits can be a practical, meaningful, and deeply worthwhile part of the job.

I’d love to know: are school visits something you’ve already stepped into, or are they still sitting in the “maybe someday” category for you?

Writing Together,

Laura

ps. Want help shaping your school visit offers, figuring out pricing, or something else? Check out my 1:1 Coaching where I’ll help you with all of this!

Learn More About Coaching

And if you’re in that camp, today’s post is for you.

Last week, I talked about how the first thing many agents do, before even reading your query or look at a manuscript, is scroll alllllll the way to the bottom of your email to see if you’ve linked a website.

And if you don’t? They pass.

I know what you’re thinking. But I don’t have a book cover, retailer links, endorsements, a speaking reel, or a glamorous headshot of me laughing at something random in the distance!

But your website isn’t just for once you have a book. It’s there to show what you’re building toward. You need a website because you’re becoming the kind of writer who takes their work seriously. And if someone Googles your name—an agent, an editor, a school, a podcast host, a future reader—you want there to be a real place they can land.

So if you’re not published yet, here’s what actually goes on your website.

1. A banner that says who you are

Someone should land on your homepage and understand within a few seconds:

• your name

• what you write

• who you write for

You don’t need some grand statement about story, beauty, wonder, and the human experience. You just need a clean sentence that helps people understand what you do.

Something like:

[Your Name] is a children’s book writer creating stories for young readers.

Or:

[Your Name] writes faith-filled picture books for children and the grown-ups who love them.

Since I write in all sorts of genres, mine is: “I create books and resources to serve you, your family, and the church.”

Simple works.

2. A short about section

All your about section needs to do is introduce you with a bio that includes:

• what kind of books/resources you write

• where you live

• your family or pets

• where you write

• any awards or accomplishments

It’s a good place to add a little personality and maybe one or two details that make you memorable. That’s enough.

This isn’t the back flap of a dust jacket written by a publicist. Just a real person with a real body of work in progress.

3. A books section — even if the book isn’t out yet

You are allowed to have a books section before your book is published.

It can be simple and just say:

• Coming Soon

• Current Project

• Books in Progress

You might include a short line about what you’re working on:

I’m currently writing picture books for ages 4–8 with themes of faith, wonder, and belonging.

4. An email sign-up

Don’t skip this. Even if you don’t have an active email list, start collecting addresses somewhere. And if you do have one, this is a primo place to grow it.

Your website should give people a way to stay connected to you that doesn’t depend on social media. It’s called owned real estate, and you want to start collecting it.

A simple line is enough:

Join my email list for writing updates, book news, and future releases.

5. A contact section

If someone wants to reach you, make it easy with an email address and a contact form. I like giving both options depending on how people prefer to interact.

6. Optional sections, depending on your season

You probably do not need everything right away. But depending on where you are, you might also want:

• a school visits section

• a speaking section

Final thought

A lot of writers assume they need more before they’re “allowed” to build a website.

Credentials / Followers / Proof / Fancy headshots / Awards

But you don’t need any of that to begin.

You need a clear place online that says, I’m here. I write. And I’m serious.

Here’s a good example of a writer that’s done just that.

That’s why I built Parlor.

Because after coaching hundreds of writers, I know this is one of those tasks that feels far more complicated than it needs to be. Most writers do not need a giant custom website with a million decisions. They need something clean, credible, beautiful, and easy to make.

With Parlor, you can create your author website in under an hour by uploading a few photos, adding your bio and details, and answering a handful of prompts. Then it builds a polished - beautiful! - site for you. Check out a sample site here.

Right now, you only have two more weeks to get $20 off the special Founder’s Pricing site build, so it’s just $129! But that price only lasts until May 19, 2026. Just use the code “KidLitLab”!

I'm ready to build my site!

So if you’ve been putting off your website because you thought you needed to be further along first, this is your sign to stop waiting.

I'm ready to get my site!

Writing together,
Laura

I thought for sure he’d say, “check follower count,” or even “skim read the book premise to see if I like it.”

But no.

Want to know what he did say?

“Scroll all the way to the bottom to see if they have a website, and if they do, I click on it.”:

Are you surprised, like I was?

I suppose I shouldn’t have been.

But until that moment, I had no idea how important websites were BEFORE someone is even a published author. As someone who is fairly techy, I’ve had a website since 2009 so it wasn’t something I ever even thought about.

But as a children’s book buyer—I know how important websites are.

Whether I’m buying a self or traditionally published book, I love looking up an author online. When I see their site it gives 1) them immediate credibility and 2) me a sense of connection and warmth toward them and their work.

It’s the same thing the agent is looking for.

As I’ve worked with clients though, I’ve realized that the author website is often a high mountain for them to climb. Everything from what platform to choose, to what to put on it to how to manage hosting, forms, emails, DNS, etc. It’s … alot.

Plus, unless you know some CSS or have great design sense, the sites often look clunky, ill-fitting, or unprofessional.

Enter: Parlor.

Parlor is a simple, done-for-you website builder for (future) authors, giving you a beautiful, professional author website in under an hour.

There’s no technical skills needed. No drag and drop design where things can get all out of wack. No needing to select fonts or button colors. No Photoshop/Illustrator/Canva design skills needed at all. Just a beautiful website where all you do is the work you already know how to do: Write the content.

Sounds doable. I'm in!

Here’s how Parlor works:

1. You answer a few questions about you, your work or your books (you do NOT need to be a published author!) add social and/or newsletter links and it even has a spot to add speaking opportunities, “as-see-on” and testimonials, if you have that. If you don’t no worries, the site will auto adjust so it still looks incredible with whatever information you have.

2. Upload four headshots or lifestyle images.

3. You pick your preferred style between classic, modern and colorful (with a cool and warm option). You can preview all the styles before a final selection.

4. Publish! You’re live! (View a sample, here.)

5. You can edit your site at any time as well as change themes, so your site can grow with you.

And the best part is, right now, because you’re my crew, you can get in on founder’s pricing at $149 for the site build, then just $8/month ($96/year) for hosting after that.

Plus right now, I’ll give you $20 off the site build, so it’s just $129! But that price only lasts for three weeks, until May 19, 2026. Just use the code “KidLitLab”!

I'm ready to build my site!

I know for many of you publishing is something you’re doing outside of your “regular jobs/life” and it’s not something you can spend thousands of dollars on so I wanted to make it extremely affordable.

So what about those of you who already have a Substack/email newsletter—you might be thinking, but isn’t Substack already my home?

Kind of. I love Substack. I’m here too. For a lot of us, it really does feel like our writing home.

But Substack is built to put the words first. Parlor is built to help people find you and your work first.

Parlor is designed to give you a website where someone can:

• Quickly see who you are

• Know what you write about or are working on

• Discover what books you have for purchase

• Book you for a speaking opportunity

• Reach out to you about your work

• Get on your email list.

• Find other ways to connect with you

It’s cleaner, more polished, and more outward-facing in a way that a newsletter platform can’t be.

Parlor’s job is to be your professional home base online.

And importantly: you do not need to be a published author to have one.

Let’s say it again for the writers in the back who are waiting until they “deserve” a website.

You do not need a book deal.
You do not need a launch team.
You do not need a glamorous brand shoot in a field.
You do not need to be on your third book.

If you write, you need a place online. You never know when an agent might discover you.

Maybe you’re still drafting your first manuscript. Maybe you’re getting ready to query. Maybe you’re building a newsletter. Maybe you’re self-publishing. Maybe you’ve already published and your current website is just looking a little frumpy.

No judgment. That is exactly why I made this.

Parlor is for fiction writers, nonfiction writers, children’s book authors, poets, and people who are still figuring out exactly what kind of writer they are. It’s built to adapt to your work without asking you to become a part-time designer.

So if getting your website done has been one of those lingering tasks that follows you around, whispering, “you really should deal with me,” this is me giving you a very loving nudge. Let’s make it happen!

I’d love to have you as one of my founding users. And remember, right now you get $20 off the site build, so it’s just $129 until May 19, 2026. Just use the code “KidLitLab”

I'm in!

Questions? Comments? I’d love to hear.

Writing (and building websites) together,

Laura

Introducing:

This Side of the Sky: 101 Poems & Scriptures for the Hungry, Hopeful & Homesick

Releasing September 15, 2026

PRE-ORDER NOW

CAN YOU EVEN HANDLE THAT COVER?

This book is a collection of poems about what it means to be a woman—a wife, mother, daughter, and friend—who loves Jesus and desires to honor him in everything she does. And while these poems are certainly about me and my life, hopefully, in the strange and lovely way poetry works, they are also about you.

Each poem is paired with a scripture and my hope is that these poems will be honest about the realities of living life under the sky after the fall, but hold the hope of looking ahead at the day that Heaven and Earth collide, and we’re all joined with our Savior and King.

I know we’re all kid’s books writers around here, but we also know that reading in a variety of genres can strengthen our writing. I hope my work in this book serves you in yours.

If you’d like, here’s how you can support the book:

1. Pre-order the book now
   Preorders matter more than most people realize. They help retailers and bookstores decide how widely to stock the book, and they help this collection find readers beyond my little corner of the internet. I would love to see a Christian poetry book show up in secular spaces too—so if you’re planning to buy it anyway, preordering now is one of the biggest ways you can help.

   You can pre-order from: Bookshop.org, Tyndale, Amazon, Barnes & Noble, Books-A-Million, and Wal-Mart.

2. Mark it “Want to Read” on Goodreads or BookBub
   It’s a small click, but it genuinely helps the book get shown to more readers.

3. Request it at your local library
   Libraries are where so many people find books they didn’t even know they needed.

4. Forward this email to a friend
   If you know someone who’s hungry for hope right now, or someone who texts you poems—would you send this to them?

5. If you’re on NetGalley, you can sign up for an early review copy here.

6. For media inquiries, contact Leanne Bush at leannebush@tyndale.com.

Thank you for joining me in my author journey!

Laura

ps. And don’t worry, I have a children’s book in the works too!

pps. All credit for the incredible cover design goes to Libby Dykstra.

It’s also… managing a website, emailing strangers, approving illustration sketches, filming a reel that makes you feel 104 years old, tracking numbers, prepping for school visits, and hunting down another candle to set the right writing mood. (If you’re local, these are my favorites—no headaches from a long burn!)

And it also can be, social media. Today we’re going to zero in on IG as that’s the main place that I hang out and I hear from many writers—that if there’s even a little bit of willingness to be on socials—then that’s the place they're willing to try.

Obligatory disclaimer: YOU DO NOT HAVE TO BE ON SOCIAL MEDIA TO BE A CHILDREN’S BOOK AUTHOR. I hope you know this, but just to lay it out there as I know so many of us can get down in our feels when we think about socials. This post is for those people who are already on IG, or are curious about it, because yes, there are still a few of us who like it. Thank you for listening.

Here’s the good news: in 2026, you don’t need to “go viral.” You need to be useful, shareable, and consistent in a way you can actually sustain.

Here are four 2026-friendly plays I’d try if you want better engagement.

1) Be the expert.

Yes, I’m still a fan of whole-personhood online. You’re allowed to be funny and human and talk about real life. But growth usually comes when a user can answer one simple question about your account: “What will I learn?”

In 2026, “niche down” works best when it’s not just topic-based (“kidlit”), but problem-based:

• “I help mothers going through a miscarriage.”

• “I help caregivers understand neuroscience and scriptural truths.”

• “I help parents learn how to manage their child’s worry.”

These types of niches give you things to talk about whether or not your launching a book, but also help you build a group of like-minded people who want to buy what you’re selling.

2) Write and design posts people will send to a friend

This is the big one. Instagram’s head has said the top ranking signals include watch time, likes, and sends/shares—and sends matter a lot for reaching people who don’t already follow you.

So instead of asking, “Will people like this?” ask: “Will someone send this to their friend who’s spiraling at 8:47 p.m.?”

I’ve told my social media teams for years: Before you say a social media post is “done,” ask, “Why would they care? Why would they share?” We need a good answer to those two questions before posting.

A few formats that tend to naturally earn sends:

• “Save/Send this checklist”

• “If you’re stuck, try this”

• Myth vs truth

• Relatable/Funny/”I thought I was the only one”

Design tip: one clear headline + clean slides. If it’s a carousel, make slide 1 and 2 so obvious people don’t have to think to keep swiping. You have two seconds to catch their attention. Yes, two seconds!

3) DM’s matter

If your platform is small, DM’s likely are not taking over your life, but it can also feel like a distraction from the “real work” that you want to be doing. That said, remember that any engagement from your community matters. DM’s are where the real work of building a loyal community happens.

My personal account is in the six figures and while I physically can’t answer every single DM I get, I do try to sit down and blaze through a large sum of them every 2-3 days—even if I’m not in book marketing mode—because I want to build trust and loyalty. Basically, I respond to as many as I can get to in 1 hour.

Don’t feel like you have to be available every second of every day, but it is important to try to respond to people who are interested in your work. One person writing you is one real person that might buy your book!

4) Stop obsessing over “perfect”… and start learning

If posting feels high-stakes, you’ll avoid it. So I like to take a more experimental mindset. Even if a post flops, it’s not failure, and I’m not embarrassed. I’m learning.

One of the best “low-risk” tools Instagram has added is Trial Reels, which lets you test a reel with non-followers first before deciding to share it more broadly. Now, I’ll be honest, I’ve only toyed with this a little, but I do think it’s a great way to do double duty with your content and see what works without bugging your main audience.

Not everyone has access to every feature all the time, but the principle still stands even without Trial Reels (and this is basically what I do because trying too many new features makes me a little buggy):

• reuse formats that worked - about every year I’ll repost stuff, but some people do it every three months!

• change one variable at a time (hook, length, caption, cover)

• track what gets sends (not just likes)

Also: the old “don’t edit for 24 hours” advice is a little murky these days, but I try not to touch it even if it needs an edit. If something truly needs a rewrite, sometimes it’s better to delete and repost than to tinker too much.

Instagram will always shift. That’s the deal.

But if you keep your focus on:

• clarity (who is this for?)

• shareability (will someone send it?)

• connection (DM’s/comments)

• consistency (simple, repeatable formats)

…you can build momentum without burning out.

If you’d like help dialing in your niche, content buckets, or what your account should actually post week to week, I can help. A 1:1 coaching call is perfect for a quick audit + a strategy you can stick to.

Writing with you,
Laura

Here are my top three tips I’ve been thinking about lately to cultivate community in 2026. I purposefully crafted these tips to work for whatever you’re interested in and the platform that feels most comfortable to you—whether that’s here on Substack, email, podcast, YouTube, Instagram, TikTok, X, etc.

Alright, let’s get into ‘em.

Tip #1: Make your platform feel like a TV show

Because of the algorithms, people have a hard time actually staying-up-to date on a creator they love. While this is why I’m a little bananas about collecting email addresses (PSA: please start an email list, even if it’s just 10 people!), if you want to grow on social media, you need to get strategic. That means thinking of your content like a TV Show or Network, with consistent content pillars that you can produce in a series format.

These days, when people are on the hunt for content, they’ll find one post they like, then go check out the creator to see if they have similar content. (And if you’re like, “wait, I totally do that.” then you prove my point 😉) When someone finds your library of similar content, they’ll stay on your channel powering through it. If they don’t find what they’re looking for? You just lost a lead.

When your platform has a clear theme and a familiar rhythm, people read more and more… and keep coming back. It’s the coming back that takes someone from random scroller to follower, and follower to community member, and community member to buyer.

Tip #2: Put yourself near creators who share your audience

Algorithms are constantly trying to categorize you: Who is this for? Who should we show it to? One of the clearest signals you can send is: “My content belongs near their content.” So find creators who already speak to the people you want to reach—parents, teachers, librarians, caregivers—based on your topic.

For example:

• anxiety / regulation → therapists, pediatric OTs, educators

• faith formation → children’s ministry leaders, Christian parenting voices

• animals / nature → animal educators, nature accounts, homeschooling circles

• grief / hard topics → grief counselors, Christian writers in that space

Then do the normal, human version of collaboration by sharing their posts, commenting thoughtfully, recommend their platform, and even inviting them to appear in your spaces. (But please, keep it real. Make sure you know their stuff and don’t share solely for personal gain. 😅)

Tip #3: Be social on social—and be generous everywhere else

This tip is so simple it’s easy to dismiss, but it makes a difference over time: If you’re on social media, be social.

Reply to comments—like a real person. Share work that genuinely serves your audience. And if you’re not on social media much? You can still grow through generosity in other places: recommend newsletters you love, share a podcast episode that helped you, forward a post to a friend, leave reviews for books and shows in your niche.

One thing that’s been fascinating about being online for so long, is that I’ll share someone’s content quietly for 1-2 years before somehow, in the Lord’s way, we’ll somehow have a connection point. It’s been beneficial for me to be able to say honestly, “I’ve been sharing your content for years!” and then the doors open for a collaboration.

Generosity builds relationships. Relationships build growth. And for those of us with a Christian posture toward our work, this is also just good formation: we’re not trying to hoard attention. We’re trying to serve people well.

Above all, remember: It’s better to have 300 quality followers who consider themselves part of your “community" than 30,000 people who don’t care about your work. (Trust me on this.)

If you can do these three things consistently—make your platform coherent, build proximity with aligned creators, and practice generosity—you’ll grow in a way that’s steadier than chasing whatever the algorithm is obsessed with this week.

And if you want help with this, I offer custom coaching to audit your platforms and give you direction on what this looks like for you and your real life. Book here if you’re interested.

Writing together,
Laura

P.S. Another place to start is with this freebie—3 Elements Every Children’s Book Author Needs to Get Published. It’s the platform blueprint for people who feel a little squirmy about platforms… I’ve got your back.

GET THE FREE DOWNLOAD HERE.

If you’re just joining us around here, we’re deep in conversation about AI and children’s books as Christians (catch up on the full series here!). While many of these posts are informed by my conversations with thought leaders in traditional Christian publishing, I don’t want this whole AI conversation to accidentally sound like it only matters if you’re in traditionally publishing.

Let’s talk AI + Self-Publishing…

A bunch of you are self-publishing (or considering it), and you’re still asking the same questions—just without an agent, an editor, or a pub board sitting between you and the book. That means you have more freedom…but just as much responsibility as a believer who is representing Christ.

My own conscience is pretty straightforward: when it comes to my art—that means my words on the page, the creative work, the making of the thing—I want it to be human-made. That’s the boundary I’ve chosen for myself, and I feel strongly about it, and at peace with my boundaries.

But if you were to pin me to the wall, I genuinely believe there’s room for different choices depending on the individual and the use case. Here’s why.

A grandma on a budget self-publishing a book for her grandkids is not the same scenario as a creator building a book brand and selling online at scale. The ethical questions aren’t identical, and neither are the stakes. One is primarily personal and relational. The other is commercial—and when money enters the room, clear communication matters even more.

Here’s my honest stance:

I don’t care if someone uses AI. I care that people know what they’re buying.

If AI helped create the illustrations, say so. If AI generated any meaningful part of the text, say so. Be transparent about it. All you have to do is add a simple line in the back matter and on the product page. Some sentence that signals, “Here’s the honest look at what you’re buying.”

Here at the Lab, I’ve included my Substack AI policy on the About page and have spoken freely about it within these posts and on my personal newsletter. I do use AI—a lot! And I even use it as a research and writing assistant for sales pages, webinar slides, marketing copy, ideation, and as an editor on this newsletter. But the Lab is not my art—my children’s books are. My poetry is. Anything you read on my personal Substack is. And AI will not touch any of that beyond a spell check.

While it’s probably true that you could get away publishing an AI-generated book and most would be none the wiser, using a disclosure does two key things:

1. It builds trust with your readers.

2. It helps out the industry as people navigate this quickly-changing landscape.

Here’s a litmus test for using AI in your self-publishing

If it’s a personal project—something you’re making for your family, your classroom, your church, your grandkids—listen to your conscience to decide what integrity looks like in that context. Do you have to put it in the fine print? Not necessarily if it’s just personal use. Do you have to lead with telling people when they read it? Not at all. But you also should be willing to share if asked and not take credit for something you didn’t do. If you feel queasy sharing it, that’s a good sign you’re better off not using it.

If it’s a book you’re selling publicly—especially online—then clear communication becomes part of the product. People aren’t just buying paper and ink; they’re buying authorship. They’re buying art. They’re buying you and your idea. And if AI played a meaningful role, that’s something buyers deserve to know.

What do you think? Should AI use be disclosed in self-publishing? If so, how? I’d love to hear your thoughts in the comments below! 💬

Writing together,
Laura

💬 From the KidLit Lab Community: The Children’s Book You Keep Picking Up

We love including your voices in the Dispatch! Last month, we asked:

👉 What’s the children’s book you pick up again and again off your own shelf?

“I looooove Wherever You Go, I Want You to Know by Melissa Kruger. It’s a fun one for my kids to read along with, but has messaging that brings tears to my eyes every time I read it to my girls!” - Jordan

“It’s such a classic it’s almost silly, but Green Eggs and Ham by Dr. Seuss. There’s a creative genius to that book that reminds me: I really can write a story about anything.” - Nicole

“We’ve been reading What Are Mouths For? by Abbey Wedgeworth a lot with my two young kids. The simple illustrations and language make it a great teaching book and it helps me remember just how much a children’s book can teach readers young and old!” - Caroline

Here’s our question for March; drop a comment below or email us at tellus@thekidlitlab.com and you might find your tip in our next issue!

👉🏼 Tell us: Who’s your favorite children’s book character and why?

On to the issue—let’s go!

IN THIS ISSUE:

• where children’s books are growing (and why it matters)

• how AI is reshaping authorship + publishing (and a workshop to master it!)

• what’s actually driving book sales right now

• new opportunities emerging across KidLit

Stay in the Know: Top Stories for Christian KidLit Authors

Children’s Book Sales Are Growing—But Not How You Might Expect
New data shows that children’s book sales returned to growth in 2025 after several years of decline—but much of that growth is being driven by activity-based formats like coloring books, sticker books, and licensed content rather than traditional narrative reading. This is a big opportunity, friends! I talked about this in my 2026 predictions post, but I think interactive elements will continue to rise to the top of the KidLit industry.
Source: Shelf Awareness

Why Animal Point-of-View Characters Still Work
Animal POV characters continue to resonate with readers. From creating emotional distance to making complex themes more accessible, animal protagonists can open up storytelling possibilities that feel both imaginative and deeply relatable. For children’s book authors, this is a strong reminder that sometimes the most effective way to reach a child’s heart is through a character that feels just far enough removed to invite curiosity and connection.
Source: Jane Friedman

Supreme Court Declines Case on AI-Generated Copyrights
The U.S. Supreme Court declined to hear a case regarding whether AI-generated works can be protected by copyright, leaving in place the current stance that content must have human authorship to qualify. This decision reinforces a growing legal boundary around creative ownership in the age of AI. For us as KidLit authors, this is a meaningful signal that human-created stories—with original voice, perspective, and intent—remain central to how creative work is valued and protected.
Source: Reuters

New Guidelines Emphasize Transparency in AI Use for Authors
The Authors Guild has released updated guidelines encouraging transparency around AI use in writing, reinforcing the importance of clearly communicating how a work was created. As expectations around disclosure evolve, authors are being asked to consider both ethical and professional standards. If you want the skinny on how to navigate this in Christian KidLit, don’t miss my AI series.
Source: Authors Guild

LEGO Expands Into Children’s Fiction Publishing
DK is partnering with LEGO to launch a new line of children’s fiction books, combining storytelling with one of the world’s most recognizable brands. This move reflects the growing intersection of storytelling, play, and recognizable IP in children’s publishing. For KidLit authors, it’s a signal that immersive, imaginative worlds—and strong concepts kids already love—continue to shape the market. (See my note in the first news article about interactive experiences!)
Source: Blocks Magazine

Ravensburger Expands Publishing Program in the U.S.
Ravensburger, known for games and puzzles, is expanding its publishing efforts in the U.S., building on the success of Disney’s Lorcana and related storytelling properties. This expansion reflects a broader trend of entertainment brands investing in narrative-driven content across formats. While it can feel overwhelming as an author to think outside of the box like this, I want to tell you it can also be encouraging—stories are everywhere. Think of all the ways yours could come to life!
Source: Publishers Weekly

Hachette Restructures Children’s Division With Three New Imprints
Hachette has launched three new children’s imprints as part of a larger restructuring effort within its kids division, signaling continued investment in both middle grade and YA storytelling. Moves like this reflect how publishers are refining their approach to reach specific audiences more effectively. Making more space for children’s books is always a good sign for us KidLit writers—this industry is continuing to grow and thrive!
Source: The Bookseller

Why You Should Launch Your Work More Than Once
Anil Dash argues that creators often treat launches as one-time events, when in reality, ideas and projects benefit from multiple reintroductions over time. Re-sharing and reframing your work allows it to reach new audiences and gain traction gradually. We talk about marketing your self- or traditionally published children’s book quite a bit in Publishing School, but here’s the net-net: if you want people to buy your book, they need to know about it. Don’t be scared to share your work, multiple times over.
Source: Anil Dash Blog

What Actually Sells Books Today? (It’s Not What It Used to Be)
A recent Substack essay explores how book success is no longer driven primarily by traditional institutions like major media or centralized tastemakers. Instead, books gain traction through communities, word-of-mouth, and direct reader connection — often in ways that are harder to predict but more powerful when they click. For children’s book authors, this reinforces the importance of building genuine relationships with readers, educators, and families rather than relying solely on traditional publishing visibility.
Source: Dear Head of Mine (Substack)

📲 The KidLit Lab Feed: What We Saved + Shared This Month

If you love a curated feed, clicking on these should tell the algorithm to give you some more author news when scrolling socials! 🙌

The rundown of the mass-market paperback and why they’re moving out of production. Read the full NYT piece here (heads up, there’s a paywall!).

As KidLit writers, we need to keep our finger on the pulse of the industry. I loved this post giving the inside scoop!

✍🏼 The #WriterLife Roundup

1. Cozy Throw Blanket // There’s something about wrapping up in a cozy blanket, warm mug in hand, and zipping through a draft first thing on a spring morning… am I right? My rec—grab the “Throw XL” version because no one likes a blanket that’s too small… just saying.

2. The cutest little book light // Okay, this is admittedly for kiddos but it was too fun not to include as an Easter basket gift or fun surprise for your young reader! This little caterpillar light is great to let your littles read in bed for a few more minutes. It’s easy to adjust and the light is small but mighty!

3. “Smells Like a Published Author” candle // We’ve all seen the candles with fun little messages on them, so let’s make it #KidLit… this candle may just be the extra bit of inspiration you need to get your book out there. Can’t hurt, right? 😉

🤝 Everything you want to know about AI + Christian KidLit.

Over the last couple months, I reached out to people in Christian publishing I respect—leaders, acquisitions editors, and folks at Christian literary agencies—and asked if they’d be willing to talk candidly through a written interview.

Now, I’m sharing it all with you: join my LIVE workshop on Thursday, April 2 at 12pm CT as I go over my findings and help you navigate AI in the KidLit space! 🎉

Mark your calendar now for AI in Christian KidLit: What’s Wise, What’s Risky, and What to Do Next. Even if you’re totally new to AI, this is the workshop for you. I’ll teach you how to use it the right way. It’s just $37 and includes a replay!

REGISTER FOR THE WORKSHOP!

• finding and comparing comp titles faster

• gathering audience demographics and better understand who your book is for

• uncovering stronger keywords, metadata, and SEO opportunities so your book is easier for the right readers to find

• acting as a super-smart thesaurus to surface stronger word options, clearer phrasing, or fresh language choices

• researching categories, trends, and positioning for proposals

I'm in!

Last week I shared a snapshot of what Christian KidLit professionals are saying about AI—based on a written survey I did with people in publishing leadership, acquisitions, and Christian literary agencies. If you want the methodology (who I asked, how I framed it, what I mean by “snapshot,” etc.), you can hop back to the previous post.

Here’s the deal though, most of us are really asking one question:

How do I use AI in a way that’s wise… without compromising my ethics or outsourcing my authorship?

After reading through the responses, I think there’s one line that clarifies almost everything.

Research vs. Writing.

Not every edge case fits perfectly inside that framework (marketing and illustration are still a bit of a squishy), but it’s the cleanest dividing line I heard again and again from people who are actually making decisions in Christian publishing.

Here’s what it means.

When you use AI for research, you’re using it to gather and organize information faster. Think: helping you understand categories, scan the market, generate a starter list of comparable titles (that you still verify), drum up marketing angles, discover demographics. You’re still the one doing the discerning, confirming, and deciding.

When you use AI for writing, you’re asking it to generate the words that are meant to represent you. Publishing isn’t just evaluating a story idea and structure. They’re evaluating you: your voice, your craft, your instincts, your ability to deliver.

This is also where the clearest line showed up in the survey.

Across responses, AI generating manuscript text was the most consistent “no.” Not because anyone thinks writers are trying to be shady, but because the manuscript is the work. It’s the main thing agents and editors are actually assessing and paying for. If a tool is doing that part, it becomes hard to know what’s the writer and what’s the tool. The vibe was essentially: if I can’t tell what’s you, I can’t evaluate you.

(pssst. Need help with writing your children’s book? Skip the AI and check out the Manuscript Masterclass where I’ll teach you all the tools to write it yourself.)

Where things get a little more divided is everything around the manuscript—queries, proposals, (agents do NOT like AI generated queries and proposals, publishers were more relaxed), marketing ideas, sales pages, or web copy. Some people are more comfortable with AI acting like a polish tool when you start with your own draft (tighten clarity, shorten, brainstorm options you then rewrite). Others get cautious when AI becomes the first drafter of words that are meant to sound like you.

One important note for my self-publishing friends: the “research vs. writing” line still matters for you, even if you’re not going through an agent. You might not be submitting a query, but you’re still building a brand, earning reader trust, and (often) working with editors, illustrators, reviewers, bookstores, and schools. In other words: self-pub doesn’t remove the ethics question. If your long game is credibility, you want your readers to feel like you are the one showing up on the page and they can trust what you write is human made/and or there is disclosure for what AI contributed to the work.

And that’s my final note: Disclosure came up again and again in the interviews. We’re in a moment where expectations are still forming, which is exactly why transparency matters. My personal take is: if AI meaningfully shaped something you’re presenting as your own words, you should be willing to disclose it without defensiveness. If you wouldn’t want to say it out loud, that’s usually your signal.

When you’re not sure if you’ve crossed the line, ask yourself this one question: If someone asked, “Did you write this?” could you answer without doing mental gymnastics?

If yes—great. If no—time to start again.

Live workshop (April 2)

If you want help applying this to your actual workflow—and making AI work for you in this process while still honoring Christian ethics and publisher/agent preferences—I’m teaching a 60-minute live workshop on April 2:

AI in Christian KidLit: What’s Wise, What’s Risky, and What to Do Next
Thursday, April 2 • 12 p.m. CST • $37 • Replay included

Even if you’re a complete beginner to AI, I’ll teach you how to get started and how to use it responsibly as an author.

I'm in!

Writing together,
Laura

But as a writer, I know there’s a lot of angst around AI (particularly here on Substack!) and many writers have strong negative feelings about it. Some of my writer friends have even unplugged, deleted, and blocked anything AI-related on their computers, and taken very public stances against it. Every day it seems I read thoughtful pieces from incredible writers about how awful LLMs (Large Language Models—like OpenAI/ChatGPT) are… and how “real writers” would never use them.

Eeek—that stings a little. But also? I get it.

AI is a great writer. (If you think it’s not, you haven’t learned how to use it right.) And as an artist with words (Side note: anyone who writes books is an artist, so this includes you, dear reader 🫶) it’s frustrating how good AI can be. Honestly, it’s also a little scary.

Still, I can’t help but wonder if some of the strongest personal “never” stances are making people miss out on what AI can do. It doesn’t have to write for you. But it can help you.

Personally, I use AI in my personal life for things like skincare routines, adapting recipes to be dairy- and gluten-free for my daughter with severe allergies, vacation planning, and more. And here at the Lab, I use it to brainstorm new products, write subject lines, develop SEO copy, and so on.

I never use it for my art. But I do see wise and ethical ways to use it in both my personal life and my professional author/business life. As a Christian, I tend to see technology as a good gift—part of our creation mandate. And while AI comes with very real risks and concerns, it also holds some incredible possibilities. (If you want all my thoughts, I’ve written more in-depth about AI on my personal Substack.)

With that in mind, I’ve been eagerly watching to see how the writing and publishing world responds to AI. Right now, it all feels a bit like a rodeo: wild, fast-moving, and short on clear rules.

👉 Writers are asking, “Am I taking a shortcut I’ll get in trouble for later?”

👉 Publishers are asking, “How do we protect our authors?”

👉 Agents are asking, “How do I represent someone if I can’t tell what their actual talent is?”

Suffice it to say: AI is raising more questions than answers.

Over the past few years, I’ve had a lot of conversations with influential leaders in the publishing space about AI. But as more of you started asking for AI guidance, I decided to gather answers more formally—and share them with you.

So over the last couple months, I reached out to people in Christian publishing I respect—leaders, acquisitions editors, and folks at Christian literary agencies—and asked if they’d be willing to talk candidly through a written interview.

These are the people making calls in rooms most of us aren’t in: shaping policies, advising teams, bringing projects to pub board, and representing authors. They’re not theorizing. They’re living it.

Over the next few posts, I’ll share what I learned. I promised everyone confidentiality, so I’ll deliver their thoughts without identifying individuals or organizations. And to make this extra fancy and profesh, here’s my methodology:

The KidLit Lab conducted a set of written interviews with Christian publishing professionals (in the children’s space) across seven organizations. Perspectives included Christian publishing leadership (3), Christian children’s acquisitions editors (3), and Christian literary agencies (2)—eight total responses, since one publishing house submitted two separate responses.

This should be read as a snapshot of informed perspectives—not a comprehensive industry policy statement, and not an official position from any one organization. To preserve confidentiality, I’m sharing findings without identifying individuals or organizations.

Alright—let’s get to the goods. First up: the three takeaways that came through most clearly. Over the next few weeks, I’ll share more insights from the survey.

The 3 biggest takeaways:

1) AI as a research tool is generally acceptable

Most people were comfortable with writers using AI to gather information faster—especially when it comes to book/proposal research and industry navigation. Things like: learning terminology, scanning the market, generating a starting list of comparable titles, discovering demographics/market positing, or doing early research on a topic.

But the “yes” almost always came with the same nuance: verify everything and don’t outsource discernment. Use it like a very fast assistant—not like a truth-teller. (Note from me: this is good advice in any area, not just book/proposal research on an LLM.)

2) Using AI to generate your query materials is widely discouraged (and manuscript text is the clearest “no”)

When AI starts writing the words that are meant to represent you in the pitching process—especially in places like query letters, proposals, and certainly manuscripts—concern rises fast.

Across conversations, the most consistent line in the sand was: using AI to generate manuscript text is a near-universal no. The manuscript is meant to reveal your voice, your thinking, your ability to craft, and your readiness. It’s a major piece of what publishers are buying (the other piece is YOU). Across the board, all pros are fine with using it as a thesaurus or rhyming tool (the same kind you can get all over the internet), but beyond helping you find a single word, nearly everyone is against using AI on your manuscript.

The only dissenting response is from one publishing pro who shared that they are fine with a “light touch” from AI in the manuscript. They compare asking AI to finish a line as akin to asking a spouse or friend and using their idea in your final manuscript.

Where it gets a little more divided is everything around the manuscript—the query letters and proposals. Some folks are more comfortable with AI acting like a polish tool in these materials (tighten what you already wrote, clarify, brainstorm options). Others get cautious when AI writes any of the words that are supposed to be yours. The repeated notion wasn’t “I don’t like AI.” It was: “If I can’t tell what’s you, I can’t evaluate you.”

My advice? To be safe, don’t let AI touch your manuscript, and don’t brainstorm story ideas on it—ever. Right now publishers are still figuring out exactly where their AI line is, but you don’t want to risk a potential opportunity because you used AI in a way they don’t feel comfortable with. Don’t even feed it into the LLM for kicks. Keep it clean.

The same goes for queries and proposals. Use AI for research, but don’t let them write for you. Remember, these prices aren’t just hoops to jump through—they’re part of how you show an agent or publisher what you can do. If a tool does it for you, you don’t just risk trust… you lose a place to show your actual skill.

If this feels overwhelming and you want some help with your query letter and proposal, I have a (non-AI 😉) resource for you here!

3) The squishy areas are… marketing, illustration, and sales copy

If there was one place where people’s answers got less “clear line” and more “well… it depends,” it was here. I think it’s because these categories sit in a weird middle space: they’re not the manuscript, but they’re still public-facing. They can be practical and collaborative (especially in publishing), but they also shape how readers, agents, and publishers experience an author’s voice.

So instead of a single industry-wide rule, it was a spectrum:

• In marketing (not the manuscript) some folks are pretty relaxed about AI helping an author polish what they already wrote (e.g. tighten a paragraph, brainstorm a few headline options, clarify a sentence), or write variations off an initial piece (e.g. the author writes the blog post, the AI writes the social posts). Others still feel strongly about avoiding AI producing any first drafts of the words that will represent you publicly (social media, web copy, etc), even if it start from an original work.

• Illustration was similar: there isn’t one unified standard across the board, and people are still figuring out what counts as “assistive,” what crosses into “replacement,” and what they want to protect—artistically, relationally, and practically. Publishers admitted they’d tried a few different things—everything from using AI to lighten the colors to generating full blown images and including them in a published work with a disclosure—but are still uncertain where their final policies will land.

The biggest takeaway for writers is honestly simple: if you’re going to use AI, keep your voice in the driver’s seat. Use it like a helper, not a ghostwriter.

Of course, this barely scratches the surface of what I learned through these interviews! There’s so much more to share, which I’ll be doing over the next few weeks.

Let’s talk about it live!

I’m hosting a LIVE workshop on Thursday, April 2 at 12pm CT to go over my findings and help you navigate this topic in the KidLit space! 🎉

Mark your calendar now for AI in Christian KidLit: What’s Wise, What’s Risky, and What to Do Next. Even if you’re totally new to AI, this is the workshop for you. I’ll teach you how to use it the right way.

REGISTER FOR THE WORKSHOP HERE!

Writing together,
Laura

Psst! Like free perks? If you love this community and want to bring more writers into what we’re building, share the KidLit Lab with a friend here and let’s keep growing! Here are the freebies waiting for you when you do:

⭐️ 3 Referrals = Essential Edits Blueprint ($27 value)

⭐️ ⭐️ 15 Referrals = KidLit Proposal Template ($147 value!)

⭐️ ⭐️ ⭐️ 50 Referrals = 30 Minute 1:1 Coaching Call w/ Laura ($300 value!)

Why it feels so hard to build an audience in 2026.

Over the evolution of the internet, there were seasons where you could use “tricks” to grow online—little formulas, little hacks, little “do this and you’ll pop off.” Even here on Substack, people would report it was pretty straightforward to figure out the pattern to “go viral” up until about May 2025 (RIGHT BEFORE I JOINED, of course. 🙃) But not anymore.

The online world has changed—rapidly. People are tired. Attention is expensive. And most of us are walking around with an internal spam filter that is stronger than ever. Which means a lot of the old advice—“just post good content consistently!”—isn’t enough anymore.

While that might sound like bad news, I’m here to ask you to just consider it news.

I’ve had a tendency to mourn some of these shifts. But with each iteration, I’m learning to adapt to what works for me… and live with the rest.

And here’s the surprisingly hopeful part:

In 2026, what works is simple (and a lot more doable than you think): be believable, be specific, and be worth coming back to. But I won’t sugarcoat it: sometimes you feel stifled or like you can’t just “do what you want,” and that’s hard for creatives like us.

Here’s the reality: people don’t casually trust a brand, a platform, or a follower count anymore. They trust proof, consistency, and someone who feels like an expert on a topic.

Which means the new game isn’t “post more.” It’s to earn trust—little by little.

The three layers to build an audience that buys children’s books

Here at the Lab, what are we all here for? To write 👏 and 👏 publish 👏 incredible, beautiful books that people actually want to buy. So here are a few of my best tips to grow an audience. But before we go too far, I want you to notice something: these layers work whether you’re building on Substack, Instagram, email, a podcast, YouTube… so wherever you choose to build your corner of the internet, these tips will help.

1) Trust: “I believe you.”

Trust is credibility, yes—but for authors, it’s also a way to pull back the curtain for your readers. When someone finds you online, they are unconsciously asking: “What kind of content does this person make… and why should I trust them?”

So how do you build trust in 2026? Niching down in the areas you want to produce books in and becoming an expert. Most people won’t follow you because they’re obsessed with the ~concept~ of children’s books, but rather because they care about what your children’s book is about.

That’s the difference between:

• “I’m a children’s book author.” (vague)
  vs.

• “I write about how to make anxious kids feel safe.” (niched down)

The thing your future reader (or their parent, I should say) is already Googling at 1:00 a.m. or talking about with a friend or praying about in the minivan? Write about that.

So right now, think about the books you want to write. Maybe you have a wide variety or maybe you have several angles on the same topic—either way, try to “pull back” and find a common area of interest that you can write about for a long time.

That doesn’t mean it’s the only thing you write about, but it should be one of your main content pillars so people start to see you as an expert.

Here are a few examples:

• Emotions: Think beyond just “big feelings.” Consider the moments that trigger them (starting school, sibling conflicts, etc.) or dial into specific emotions (embarrassment, jealousy, anger, etc.)

• The Brain + Body: There’s more to this than just helping children understand what is what. Can you talk about how kids experience stress vs. calm in their bodies? How feelings show up physically? How things like screen time, sleep, hunger, and routines impact the brain and body?

• Disability: There is so much to unpack when we talk about being made in God’s image here. How can you dig deeper into this discussion—friendship? Empathy? Accessibility? Community? Think about the many facets here, and push yourself beyond a vague story about inclusion.

• Theology: SO. MANY. OPTIONS! Prayer, suffering, fear, gratitude, God’s character… eek! I didn’t say these were easy topics 😉, but you can trust God’s Word to guide you accordingly and prayerfully consider how you might be able to craft a story that gives kids a clearer picture of these complex topics.

A helpful question to ask is:
“If someone loves my book, what else do they probably care about?”

Trust grows when you have a consistent drumbeat people can listen to. When you show up and people think: Oh, it’s her again—the one who helps parents talk about worry. Or: Oh, it’s her—the one who makes faith feel simple for kids!

That’s the win. Not just because you’re building a community, but because you’re giving them something of value. You can’t fake the truth.

2) Proof: “I can see what you mean.”

Proof is what makes trust move faster. Not proof like bragging. Proof like specifics. Because in 2026, people are skeptical of big claims. They’ve been sold too many “life-changing” promises. So proof isn’t, “My book will help your child with anxiety.” Proof is, “I understand what anxiety actually looks like in a child at bedtime… and I have something concrete that can help.”

Proof sounds like:

• “Here are three sentences you can say when your child is spiraling at bedtime.”

• “Here are the signs your kid is anxious (even if they don’t have the words).”

• “Here’s how to talk about God’s care without slapping a Bible verse on a panicky moment.”

• “Here are five books that help kids name big feelings—and when to use each one.”

• “Here’s a simple routine for after-school meltdowns that doesn’t require you to become a perfect parent.”

In other words: proof is helpfulness with teeth. It makes someone feel less alone and more equipped after engaging. It’s things like scripts, frameworks, practices, routines, curated resources and real-life observations.

3) Connection: “I relate.”

Connection is helping a person feel like you understand them and see them. And here’s the key: children’s books are emotional purchases. People buy children’s books because they want to help shape and form a child, so connection matters a lot.

A few ways connection shows up (without trying so hard):

• You name the real tension behind the topic (without dramatizing it).

• You speak with respect to your audience instead of talking down.

• You sound steady—like you’re not trying to “sell” hope.

• You make room for complexity: Things like how kids are wonderful and parenting is also exhausting.

Quite honestly, connection is often the quiet confidence underneath your words: we don’t have to manufacture outcomes and we can trust God to give the growth. We can tell the truth about how hard life can be—and still hold hope without pretending. After all, that’s the gospel.

Let’s boil this down:

Be easy to trust.
Easy to understand.
And easy to come back to.

If you can do that, you will build an audience you can sell to—without burning out.

Writing together,
Laura

ps. Want help with this? I work with clients every day to help them grow their online presence in a way that feels faithful and right for them. Sign up for coaching right here!

Side note: Like free perks? If you love this community and want to bring more writers into what we’re building here, share the KidLit Lab with a friend here and let’s keep growing! Here are the freebies waiting for you when you do:

⭐️ 3 Referrals = Essential Edits Blueprint ($27 value)

⭐️ ⭐️ 15 Referrals = KidLit Proposal Template ($147 value!)

⭐️ ⭐️ ⭐️ 50 Referrals = 30 Minute 1:1 Coaching Call w/ Laura ($300 value!)

I have a lot of clients who come to me with a brilliant book draft—but they’re missing something important: that little pocket of people who want to hear about it.

And listen—I get it. Most of us didn’t start writing children’s books because we were dreaming about content calendars and email funnels and “link in bio” strategies. We started because we love Jesus, kids, and stories with meaning. We started because we had a message on our hearts that we wanted to put in a child’s hands.

But here’s the truth that will save you a lot of heartache later:

If you want people to buy your book, you need a way to tell people your book exists.

I’m not saying this to pressure you. I’m saying it because I’ve watched too many good writers do the hardest part—write the book—and then quietly hope the world will somehow stumble into it.

As I’ve worked with students in Publishing School, they usually come at it from however they are choosing to publish, self or traditional. So let’s go through some of the objections and questions I hear for both.

“I want to be traditionally published. Isn’t finding buyers the publisher’s job?”

Totally fair question.

Traditional publishing will absolutely support your book—publicity, distribution, relationships, sales channels, marketing plans. But here’s what’s also true: when agents and editors consider your project, they’re also thinking:

• Can this author help sell this book?

• Do they have a place to show up?

• Do they understand how to connect with readers?

• Do they have any proof they can gather and keep an audience’s attention?

They’re not asking because they want you to become an influencer. They’re asking because they’re running a business and trying to make wise bets.

And even if your platform is small, what matters most is this: Are you doing the work? Are you building anything at all?

“But I’m self-publishing. Do I really need an audience?”

Friend… yes. Perhaps even more, actually.

Because if you self-publish and you don’t have a place to gather people, you’re basically launching a book into the wilderness with a wish and a prayer that a librarian will discover it in a dream. If you want to sell books, you need:

• a way to build anticipation

• a way to notify people when it’s available

• a way to help them share it with others

And you don’t need a huge audience for that—but you do need a real one.

Here’s how to make this doable:

When I say “build a community,” I’m not saying you need:

• a fancy brand

• daily posting

• a viral reel

• a perfectly curated personal life

• a camera-ready face at all times (#parttimehotgirlhere - please tell me some of you follow me on my personal IG/Substack and know what I mean for that! 😅)

What I am saying is you need a home base. Somewhere online where people can find you that you can show up with consistency. Somewhere you can eventually say, “Hey—my book is ready,” and a handful of real humans will actually see it.

That home base could be:

• an email list

• a Substack

• a blog

• an Instagram account

• a podcast

• a YouTube channel

• a small Facebook group

• a Circle community

• even a consistent presence in a niche online space

I truly don’t care which one you choose. I care that you choose one.

The goal isn’t “followers.” The goal is “familiar.”

Here’s what I want you to picture: It’s one year from now. Your book is coming. And instead of whispering into the void, you have a small group of people who recognize your name. They’ve heard your voice. They’ve watched you show up. They trust your taste. They know what you’re about.

When you announce your book, it doesn’t feel like you’re awkwardly selling something. It feels like you’re telling your people good news.

That’s community. And it can start with 10 people. So start here:

1. Choose a place to show up.

2. Talk about a few consistent things.

3. Give people a way to stay connected.

That’s it. You don’t have to be everywhere. You just have to be somewhere, consistently.

Writing together,
Laura

Psst! Like free perks? If you love this community and want to bring more writers into what we’re building here, share the KidLit Lab with a friend here and let’s keep growing! Here are the freebies waiting for you when you do:

⭐️ 3 Referrals = Essential Edits Blueprint ($27 value)

⭐️ ⭐️ 15 Referrals = KidLit Proposal Template ($147 value!)

⭐️ ⭐️ ⭐️ 50 Referrals = 30 Minute 1:1 Coaching Call w/ Laura ($300 value!)

You’re not imagining it.

And to no surprise, it’s found its way to our KidLit world as well: I’m watching a gap widen in KidLit between authors who are steadily building “real readers” (and by extension, real opportunities), and authors who are doing a lot but nothing’s really happening.

So if I had to bet on it, here are the five things I think matter most for children’s book authors who want to sell books, grow a platform, and stay sane while doing it.

But before I go too far, I need you to hear: I may or may not abide by these bets in my own personal marketing. I tend to be someone that LOVES following trends, but doesn’t always have the time, energy or desire to follow through on them. So please follow my example: Take what’s helpful and leave the rest. My prayer for you in sharing this is that these would open up new ideas and ways of thinking—not give you five more things to add to an already long to-do list. 🫶

1) The authors who win are going to think like tiny media companies

I know. I know. You wanted to write books, not become a one-person TV station.

But in 2026, visibility isn’t optional—it’s just more fragmented than it used to be. Your future readers (and the adults who buy for them) are scattered: Instagram, Substack, podcasts, school newsletters, church moms’ group texts, librarians’ Facebook groups, teachers’ TikToks, Amazon search, bookstore displays, and. so. on. 😅

The authors who grow won’t necessarily be the loudest. They’ll be the ones who cut through the noise and give you a reason to follow them.

They’ll create a world—with a recognizable rhythm to what they share.

Think:

• “Behind the book” once a week

• “Topical tip” in a simple recurring format

• “What I’m learning about…” monthly

• “One honest story…” weekly

Random posts don’t cut it anymore, so start thinking of your profile more like a show people can follow along with and tune into.

People don’t buy from “content.” They buy from a creator they like and trust.

2) The real flex? Long-form content that lives somewhere you control

The short-form content that dominates social media these days is the Internet’s version of junk food… and everyone is tired of it. The authors who build actual momentum will be the ones who have a home base for their long form content:

• an email list (still king—it’s been 20-something years and no one has found something to replace it)

• Substack (if you like writing and building in public)

• a podcast (if talking feels easier than typing)

• YouTube vlogs / process videos

• blog posts that answer evergreen questions parents/teachers/pastors/ministry leaders search for

When your content has a long shelf life, what you publish once keeps working. Plus, you can create all sorts of repurposed content from that one piece you worked so hard on.

3) AI is not your replacement. It’s your assistant—if you use it with conviction.

There’s a lot of noise around AI and publishing—and yes, there are real ethical conversations we should keep having. But here’s what I’m seeing in the healthiest, most grounded author businesses: authors are using AI to speed up the parts that drain them… so they can spend more energy where only they can do the work.

Here are a few examples:

• brainstorming headline options for a book launch email

• generating a list of themed event ideas for your book

• organizing your marketing plan into a simple weekly checklist

Friendly reminder: AI is a tool. It cannot (and should never) create your art.

You still decide what you believe. What you stand for. What kind of stories you tell. What kind of author you’re becoming. But if AI helps you get back two hours a week? More power to you.

4) “Offline” is going to become the differentiator (even for online authors)

As content floods the internet, the most memorable marketing will look surprisingly… physical. Not necessarily big conferences and ballroom stages (though those can be great). I mean:

• library relationships

• bookstore friendships

• school visits (even small ones!)

• local children’s and church ministry connections

• moms’ groups

• homeschool co-ops

• festivals, craft fairs, community events

This year, I think we’ll see authors build more momentum through 30-person rooms than 300,000-view TV spots. Every publisher ever will tell you the magical egg no one knows how to crack for selling a book is getting that elusive “word of mouth” buzz. Real relationships still sell books better than anything, so don’t overlook your small-but-mighty people. They often sell more books than the big, flashy media spots.

5) The unsexy stuff will still be the thing (and most authors will skip it)

Here’s what will still work in 2026, even though it’s not glamorous:

• a consistent email cadence (even twice a month!)

• thank-you notes to librarians, teachers, and booksellers

• building a good website

• collecting testimonials from parents/educators and using them often

• having one clear next step for readers (preorder, request at library, join list, etc.)

• having a book + offer ecosystem that makes sense (especially if you’re building beyond the book)

If you feel overwhelmed, do this:

I’ve said this before, but it begs repeating: do not do all five of these today. Please don’t.

Pick ONE lane for the next 90 days:

• Build your email list with one consistent welcome freebie

• Start a Substack rhythm you can actually sustain

• Build one long-form evergreen “resource” a month

• Plan one offline relationship-building push (schools/libraries/bookstores)

• Create a partnership that repeats (not random)

• Systematize the unsexy stuff with a simple weekly checklist

You can’t do everything, but you can do a few things right—consistently, creatively, and with actual joy. After all, that’s the point—right? Let’s get your book out there. 💪

Writing together,
Laura

Psst! Like free perks? If you love this community and want to bring more writers into what we’re building here, share the KidLit Lab with a friend here and let’s keep growing! Here are the freebies waiting for you when you do:

⭐️ 3 Referrals = Essential Edits Blueprint ($27 value)

⭐️ ⭐️ 15 Referrals = KidLit Proposal Template ($147 value!)

⭐️ ⭐️ ⭐️ 50 Referrals = 30 Minute 1:1 Coaching Call w/ Laura ($300 value!)

Enjoy!
Laura

For anyone unfamiliar with you and Writer’s Circle, tell us a bit about yourself!

I’m a senior editor at Penguin Random House Christian (Penguin is the largest English language publisher in the world). I edit for folks like Jon Tyson, Kyle Idleman, Jordan Raynor, Sarah Walton, Kristen Wetherell, Ruslan KD, and Luke Lefevre, to name a few.

Lots of writers reach out to me who feel trapped on the outside, like publishing is an elite inner circle they’re not welcome to join until they’ve done something cool. I want to change that. My goal is to demystify the daunting world of publishing, so writing feels less lonely and your next step feels more clear.

So I created Writers Circle一which consists of:

• A weekly podcast

• A weekly newsletter

• A book proposal course

• 1:1 coaching (KidLit Lab friends, you can email Will at hello@writerscircle.co to inquire!)

  

“Writers reach out to me who feel trapped on the outside, like publishing is an elite inner circle they’re not welcome to join until they’ve done something cool. I want to change that.”

- Will Parker Anderson

What’s a misconception writers have about what a senior nonfiction editor actually does—and what the job is really like day to day?

Love this question! A common misconception is that my job is primarily to fix grammar and punctuation. If that was my job, let me assure you, I’d be looking for new employment!

A copy editor corrects grammar, but I’m a developmental editor, which means I help authors come up with their next book idea, shape the concept, outline the book, and craft the overall flow of their story. It’s creative, collaborative work, and it’s rewarding to help mold a book into its best form一then to watch that book impact thousands.

When you’re talking with a writer, what are the clearest signs that they do have an adult nonfiction book in them (not just a great essay or a solid newsletter)?

I look for three things:

1) Does this idea address an urgent problem lots of people care about? The difference between a book that’s “nice to know” and “need to know” is massive. If a nonfiction book isn’t solving a problem, most likely people won’t read it.

2) Does this idea flow from a deep place in the writer’s life, or are they just chasing a trend or regurgitating the work of other writers? Make no mistake, we all borrow liberally when we write. However, I’m looking for a fresh angle that’s the overflow of someone’s lived experience or expertise.

3) How strong is their proposed outline/table of contents? This is where the magic happens. It’s one thing to think of a book topic, but another thing entirely to break that topic into interesting chapters that fit together and tell a compelling story.

What are some common “false positives”—the things that feel like a book idea at first, but usually aren’t strong enough to sustain an adult nonfiction book?

I want to be careful here as every person’s life story matters. But the hard truth is: going through something difficult isn’t necessarily a green light to write a book. There is great value in writing down your story一whether of survival, overcoming adversity, or learning through failure一but the moment you decide to try and publish it for a vast audience, suddenly you’re in competition with millions of people, many of whom have walked through similar experiences.

It shocks some to learn that memoirs usually fail commercially. Turns out, it takes a lot to bring readers to your personal story. On the flipside, principle-based books, which may feature snippets of your story but mainly help readers solve a specific problem, tend to sell better.

This sounds discouraging at first, but I would counter that it’s best to understand the publishing world on the front end so you can form realistic expectations and adjust your strategy accordingly. If you’re determined to tell your story, know the odds are against you. You’ll have to work twice as hard to be heard.

What strengths do you notice in children’s writers that translate surprisingly well to adult nonfiction?

Oh, so many things! Where to start… one strength is imagination. The ability to describe the world in unconventional ways. Especially in Christian nonfiction, our effort to be theologically accurate sometimes chokes out our ability to use poetic, gripping language.

Naturally, when describing the things of God, we want to be reverent and careful. But God himself, in Scripture, employs many literary genres to describe himself and our world一including poetry, narrative, apocalyptic imagery, biography, letters, songs, and prayers. He’s creative, revealing himself on the canvas of Scripture with diverse, vibrant colors. Shouldn’t we do the same in our writing?

Recently in a conversation with Andrew Peterson, he mentioned the trifecta of good art: goodness, beauty, and truth. If we major in one at the expense of the others, something’s missing. Children’s writers understand this and we’re wise to follow their example.

“God himself, in Scripture, employs many literary genres to describe himself and our world一including poetry, narrative, apocalyptic imagery, biography, letters, songs, and prayers. He’s creative, revealing himself on the canvas of Scripture with diverse, vibrant colors. Shouldn’t we do the same in our writing?”

- Will Parker Anderson

Where do KidLit writers tend to struggle when they move toward adult nonfiction—what skills have to get built or rebuilt?

When I talk with KidLit writers, they seem fluent in the art of delight, knowing that their audience loves to laugh, imagine, and dream. Sadly, when turning the corner to write adult nonfiction, much of that playfulness and imagery vanishes as well-meaning authors try to impress or instruct adults.

So this isn’t exactly a new skill, but my advice is this: Don’t leave your imagination on the shelf. Every adult is just a kid who’s been carrying the weight of the world so long they’ve forgotten that fact, so one of the greatest gifts you can give them is a reminder that life is about wonder一just as much as it’s about responsibility. Bring your “kid-ness” with you even as you write for grown-ups.

As an acquisitions editor at a Big Five publishing house, let’s go for the jugular: What does “platform” realistically mean right now? What are you looking for?

Ah yes, platform—the dreaded word. It’s a complex question because I’ve signed authors with less than 500 followers and authors with over a million followers. There’s no silver bullet or one-size-fits-all solution.

Here’s my best advice on how to build your platform without losing your mind:

• Listen to this podcast episode: The 10 Commandments of Platform

• Read this article: 3 Things Publishers are Looking For
  

For a KidLit writer who’s curious but unsure, what’s one practical, low-risk next step they can take in the next 30 days to test whether they should pursue an adult nonfiction book?

If you’re thinking about shifting or diversifying your content from KidLit to adult nonfiction, your next step is to test out new content with your existing audience. So if you host a podcast aimed at kids, do a short run of episodes aimed at adults and see what happens. If you have a newsletter aimed at kids or their parents, create a 3-week series intended to address a problem adults struggle with. Rinse and repeat.

In other words, don’t wait. Don’t build this up in your mind or try to break into a new demographic with a full-length book. Start where you are, with what you have, and try out content as soon as possible with your audience.

Even if you don’t see drastic results immediately (and you probably won’t), you’ll gain real-life experience, learn from your audience, and slowly start to focus your message.

You guys know how passionate I am about helping writers like you create true, good, and beautiful children’s books—and to see this same level of excitement and intentionality at the adult level is a huge encouragement to me. I hope you left this conversation feeling just as excited.

If you want to hear more from Will on writing and calling, you can subscribe to his Writer’s Circle newsletter below!

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