Donna Cangelosi and Chana Stiefel have interviewed me for their blog KidLit Takaways. Thank you, ladies! In the interview, I share some picture books with good arcs and break them down to show the various plot points. I also offer a 25% discount off my picture book writing course Art of Arc. Because their blog’s theme is “Bite-size bits of wisdom & inspiration for writers on the go!” we weren’t able to include everything from the interview, so I offer some of the outtakes below.

How did you come up with the idea for your online writing class, Art of Arc?

After critiquing hundreds of picture book manuscripts, I saw the same issues repeatedly. As my professional critiques include mini lessons, I found myself recreating the same lessons but customizing them for each story I critiqued. There had to be an easier, more efficient way to do this. And a course was born.

The reason I created a course that focuses on the classic arc is because 90% of the stories I critique are built around that structure. Many successful published picture books are built around an arc on some level. It is the number one structure in picture books. Therefore, I believe this course fulfills a need that has not been available until now. Many courses are taught using the classic arc, but none goes into the detail that this course provides.

Define “story arc.”

Story arc (sometimes called narrative arc) refers to the plot’s development, and character arc refers to the character’s development. Sometimes this can get confusing, with kind of a which came first the chicken or egg type of conundrum. However, usually with picture books, neither comes first because they develop simultaneously as the story progresses. Your character can’t develop unless your plot creates events that instigate your protagonist’s growth or change. Your plot can’t develop unless your character reacts to the plot events through action that moves the story forward, hence developing the plot.

The character arc is the structure that shows how the character develops (grows/changes/or learns) over time. Without a change, the story would be flat, and the reader would not have much to relate to. Usually, the main character starts out with some sort of conflict that he tries to work through, and he is eventually forced to make a choice that leads to his change in thinking or growth. Sometimes the change in thinking is acceptance. Character arc is sometimes confused with character motivation (the thing that makes him take action).

Motivation is the “why” of the protagonist’s action.

The arc is the “how” of the change and growth that occurred because of the action he took.

So, motivation is the driver. It is the energy that moves the protagonist to react or act. His growth is the result of the actions that he took.

Arc determines the ups and downs that set the pace of your story. A good arc is key to engaging readers from beginning to end. There are many picture books based on a similar idea or theme. The arc helps to differentiate one of those same-topic picture books from the other. The narrative arc (also called story arc) is related to the external events and the character arc is about the protagonist’s inner journey, hence the importance of some sort of growth in the character by the end of the story. But still the two arcs form a symbiotic relationship. They rely on each other. The situations and challenges that your characters face are part of the story arc. The choices your character makes and the action he takes that lead to growth and change all fall into the character arc zone.

The main plot points of the story arc include the exposition, ordinary life, inciting incident, rising action, climax, falling action, and resolution. Not all picture books show the ordinary life. Many start at the inciting incident.

The beginning of the story usually provides the who, what, when, where, and why of the story. And the protagonist and his problem/goal are introduced.

Describe the class curriculum and learning objectives.

The focus of the course is the storytelling structure that uses a classic arc. The purpose of this course is to deepen writers’ understanding of picture books written with a classic arc and to introduce them to many other picture book structures. The course also addresses a number of common issues I have found in the manuscripts I critique.

The objective of the course is . . .

• To give a strong foundation in storytelling that is built around the traditional story arc
• To teach picture book writers some techniques and structures that will improve existing manuscripts and make future writing stronger
• To provide writers with the knowledge and tools to assist in analyzing their own work prior to investing in professional critiques
• To guide writers through a manuscript self-assessment process that may help prevent submitting manuscripts prematurely
• To show writers how to avoid common writing errors and apply writing elements that will enhance their stories in a way that takes them to a higher level
• To shed light on writing elements previously learned in less-detailed courses
• To expand writers’ ability to revise and polish their manuscripts
• To expand writers’ ability to develop a strong plot

The curriculum is based on the following lessons:












Describe your background in writing?

I’ve written my whole life. First, I wrote for creative pleasure. Then I wrote in various jobs. I wrote newsletters, processes, and procedures. I wrote greeting cards for a small business my sister and I had. When my granddaughter was born, my interests turned to children’s book writing. I started my children’s writing journey and education with the Institute of Children’s Literature, moved on to their advanced course, and then I started taking courses from authors, editors, and other writing schools. In addition, I went to SCBWI conferences and workshops as well as other writing workshops and webinars. There is a partial list of the courses I’ve taken on my website.

And in critiquing?

I’ve been critiquing for ten years. It started with critique groups. Then as I progressed with my knowledge, I felt the need to help other writers, so I started critiquing people’s manuscripts out of generosity. In the process, I learned things I hadn’t learned in the courses I had taken. Issues that I sensed were concern worthy piqued my curiosity and drove me to research. I was especially interested in understanding plot and arc on a deeper level because I saw so many stories that were missing cause and effect or had no arc or a weak arc. The more I critiqued, the more people would tell me how much I helped them understand and strengthen their story. So, I decided I must be pretty good at this critique thing. After writing hundreds of picture book critiques, I opened my professional critique service in January 2014. In 2016, I was invited by Julie Hedlund to be a Critique Ninja for 12 X 12. This will be my third year as a Critique Ninja. I still give critiques away to help other writers. For paid critiques, I mostly critique manuscripts for my students and alumni because I know that I can refer back to lessons that they should revisit to help them strengthen their manuscripts. My students get a deep discount on critique fees.

What are some of the common mistakes writers make regarding story arc?

There are so many! I could write a book, but I will give a few of the top ones that have major impact on the story.

I see a lot of episodic stories. I explain episodic stories on my blog.

Many stories have a lack of growing tension or lack of variety in action.

It’s common to read stories where it’s not clear who the protagonist is. When I query the author, we often find who they think the protagonist is does not convey in their story. This is usually a sign of an episodic story or a weak or nonexistent arc.

I find that the darkest moment and inner and outer climax are either weak or missing.

There is often a lack of motivation or stakes that drive the protagonist to take action. This and a lack of obstacles (or try and fail scenes) result in a story with very little to no emotional core. The lack of stakes and obstacles prevent the rise in action and the tension that keep the reader engaged.

I see many weak beginnings that don’t hook me as a reader. They don’t create questions in my mind that make me want to keep reading. They don’t set up any expectations that make me want to keep reading.

And then there are weak endings. Just a few examples: The story is resolved too easily. Someone else steps in and saves the protagonist. It might be predictable. There are loose ends left dangling.

Tell us about your writing career.

I covered this pretty much in my answer about my background in writing. I will add that my picture book Butterfly Kisses for Grandma and Grandpa was my first published book. And it won the Mom’s Choice Gold Medal and the Independent Publisher’s Silver Medal. My first chapter book Sienna, the Cowgirl Fairy: Trying to Make it Rain was released last year. It is the first in a series with three other Sienna books that are scheduled to follow. I have started giving chapter book critiques, and gosh darn it, if I’m not pretty good at those, too 😉

Can you share any success stories from your students?

While some of my clients have signed with agents or sold books to publishers, I don’t believe that it is entirely a result of taking Art of Arc or any one course. I believe that it usually takes a combination of courses (where the author gleans a bit from each one). And then there are critique groups, professional critiques, conferences, and craft books, and on and on. It’s also important to give credit to the determination and the blood, sweat, and tears that authors put into their work. In my opinion, reaching success as a writer usually takes a village. I’m happy that Art of Arc can play a role in the growth of many writers’ knowledge. I will share a few recent comments about the course below.

Michael Samulak said, “I don’t have a ‘success’ story in the traditional sense, but I can at least support the ‘village’ idea and say that the course has helped me with my writing and approach. I recently was able to finish a story that I am currently submitting to agents. I realized how much of my writing up to the ARC has been ideas more than a complete story.”

One of my students, Karla Valenti has signed with Essie White and her picture book Marie Curie and the Power of Persistence has been acquired by Sourcebooks. This is the first book in the My Super Science Heroes picture book series. Following is what Karla shared with me about how Art of Arc impacted her writing.

“So I took your course after I had taken a few other PB courses. What I loved about it was that it (1) reinforced a lot of what I already knew (hooks, story structure, conflict, showing vs. telling, etc) but it provided supplemental material to study, (2) there was a lot of new content that was really useful and that I’d never read before (e.g. episodic stories and using elements of fiction in NF), and (3) you have assembled a truly fantastic list of resources!!

In the end, the exercise of working through all of these materials, truly helped cement (and ultimately internalize) key elements of picture book storytelling which have undoubtedly made me a better writer.

As for how this helped me in my career, the course gave me a number of tools I could use to improve upon my stories as well as the confidence to know that I was on the right track as a writer. It also helped me become better at reviewing my work and critiquing the work of others. This last part continues to be a huge benefit as I find no substitute for reading picture books (published or otherwise) and trying to understand what makes them resonate.

On a personal note, I greatly appreciate the opportunity to also learn from you through your manuscript critiques. It is clear you have a solid understanding of effective and meaningful storytelling, and your insights have been invaluable in helping me develop my own work.”
For those who might be interested, there are many more testimonials on my website.

Other suggestions for picture book writers.

Read, read, read. Read picture books. Read books on writing.

Analyze picture books written with a classic arc. One good way to do this is to write out all the plot points in simple sentences. I find when writing critiques that sometimes getting away from the wonderful writing and distilling the story down to simple, bland steps of the protagonist’s actions, challenges, and turning points, I can see the actual structure better.

You can find more information on Art of Arc on my website. To learn how to get your 25% discount, be sure to visit KidLit Takeaways.




ValentinyLast month, I participated in Susanna Hill’s Valentine’s Day writing contest. I was fortunate to win an honorable mention for Beautiful Language and win a copy of Rhyming the Write Way by Laura Purdie Salas and Lisa Bullard. Thank you! The reason I say “I was fortunate” is because after I entered the contest, I realized I was so focused on the theme of hope that I never mentioned Valentine’s Day. So a good reminder to me – watch those submission guidelines.

50 precious words 2018This month, I’m participating in Vivian Kirkfield’s 50 Precious Words contest. There’s still time for you to enter and challenge yourself to write a story in 50 words. There are many great prizes. My entry is below.

Reading research 2018I’m also participating in Reading for Research Month as a viewer of the many wonderful posts. This is a great event and challenge with lots of opportunity to learn from mentor texts.

In addition, Chapter Book Challenge just started. Write a Chapter Book in a month! So, if you are writing a chapter book or have been thinking about writing one, here’s your motivation and accountability if you want it.

Now for my 50 Precious Words . . .

Wally Earthworm’s Quest
by Alayne Kay Christian

Wally Earthworm hated dirt  wally earthworm5
Reading’s what he loved the best
That, and snuggly, silky shirts.
Ready to begin his quest,
He squirmed, he searched, he wished, he roamed
He dreamed of silk and book abodes
Until a page of silken words
Became his perfect bookworm home.

(Metrical variance intentional)


Following is my story for Susanna Hill’s Valentine’s Day writing contest. It should be a story about someone who is hopeful. I tried my hand at the new watercolor pencils I got for Christmas to do a couple of illustrations. Guess what? I’ve got a lot to learn 😉 And a lot of experimenting and practicing to do. But I will give myself some credit for trying.


by Alayne Kay Christian


ladybug flyEmma kissed her ladybug.
She made a wish and set it free.
Emma missed her ladybug.
She wept and launched a hunting spree.

Spying, eying swaying swings
and ’round the dandelion patch.
Seeking polka dotted wings,
to find her ladybug to catch.

Glancing at a garden glove,
she asked herself, “Where could it be?”
Peeking, seeking Lady love,
she whispered, “Please come back to me.”

gnome2Looking high and looking low
at trees, a bush, a garden gnome.
Walking over nice and slow,
she stopped near Froggy’s leafy home.

Checking under rows of rocks
and over every anthill mound.
Searching flowers and garden crocs,
she cried. No ladybugs were found.

Emma wished for Bug’s return
with hopes that maybe it would stay.
Drifting off with rolling clouds,
she slept the sunny day away.

Tiny, tickly Lady legs
and sparkly blinking eyes –
Was she dreaming, could it be
her wish had brought this brilliant prize?

“Ladybug!” She crossed her eyes,
she laughed aloud, and then she rose.
Ladybug had found a home
upon the tip of Emma’s nose.

ladybugnose crop2



I’ve been busy working on the next Sienna, the Cowgirl Fairy book and rewriting my picture book writing course, Art of Arc. That’s only part of what I’ve been up to. But what’s important here is that I haven’t written a blog post in a while, so it’s high time I wrote one.

Today, I thought I would take a little time to share a few other things that I’ve been up to because I want to share some news, opportunities, and resources.

Teachers, librarians, parents – this one is for you.

I was just invited to be a judge for a fun writing contest for children in grades 3-5. Rosie Pova is offering the contest on her blog. This is a nationwide competition for creative writing with a theme, a twist and, of course, PRIZES! Teachers and librarians have 30 days from the contest opening date to submit the best entries that they select.

The contest began January 18 and will end at 11:59 pm February 16, 2018.

Writers, this one is for you.

I’ve signed up for my sixth year as a 12 X 12 member and my third year as a 12 X 12 critique ninja. As a member of Julie Hedlund’s 12 x 12, you get the motivation and accountability you need to write picture book drafts in 2018. There are opportunities to learn from industry experts, receive advice on the craft of writing picture books from published authors, literary agents, and editors, and enjoy the fellowship of community. Registration is open until February 28.

Just so you know, a critique ninja is a person who works in the 12 X 12 forum offering critiques on posted picture book manuscripts. There is a whole team of critique ninjas – all professional critique writers.

Another one for writers.

I’ve joined Tara Lazar’s Storystorm challenge for, I think, my sixth year. The Storystorm challenge is to create 30 story ideas in 30 days. You don’t have to write a manuscript (but you can if the mood strikes). You don’t need potential best-seller ideas. The registration is over and the challenge is more than half over, but you can still get some great inspiration for finding ideas from the month-long Storystorm posts on Tara’s blog. Once upon a time, Storystorm was called PiBoIdMo or  Picture Book Idea Month.

This one is for illustrators, artists, and illustrator wannabes (like me 😉 )  

I have bounced around the idea of trying my hand at art with this KIDLIT411 illustration contest, but I haven’t gained the courage. But YOU might want to give it a try. Excellent opportunity! The deadline is February 9.

Another one for illustrators, artists, and illustrator wannabes (like me 😉 )

I’ve been practicing art using a bunch of different books, but I also recently signed up with the Society of Visual Storytelling (SVS). Here’s a little blurb from their site. Our videos are custom made to show you how to get the skills necessary to break into the dynamic field of illustration. We have a wide range of subjects that fit any interest you may have in art. On top of our huge video library of art videos, we are now offering multi-week interactive classes where you get direct feedback from the instructor. In addition to our video content, we offer a forum where you can chat with other students and ask for help or just show off your stuff!

Now, if only I could get reliable Internet access on the road so I can watch my courses!

And one last bit of fun for writers.

If you don’t know about it, Sub Six is a Facebook support group for kid lit writers who are focusing on submitting their work. I’ve had a hard time keeping up with it, and the wonderfully smart and talented Manju Gulati Howard has volunteered to help. And boy has she helped. She does so much to inspire and encourage the group. She’s secured monthly prizes for the whole year from generous donors. And now, she has started Rejection Bingo, which is a blast. The game is in play until June 1.




Sienna wand

Sienna, the Cowgirl Fairy Art by Brian Martin


You are a cowgirl (or cowboy) fairy!



FOR KIDS 7-11!

Holidays are coming! How would you like a gift card to help you buy gifts? Would you like two signed copies of Sienna, the Cowgirl Fairy: Trying to Make it Rain to give as gifts? Or keep one for yourself and give the other away?

How to win . . .

Two signed copies of Sienna, the Cowgirl Fairy: Trying to Make it Rain and a $25 Amazon gift card.


1. If you are 7-11 years old, draw a picture of a cowgirl or cowboy fairy.
2. And write a story about what you would do if you had cowgirl/cowboy skills and fairy powers. You are the main character or hero in this story. This story will be your adventure that results in something good happening for other people.
3. The story must be no less than 75 words and no more than 125 words.
4. The story must have a beginning, middle, and end.
5. Be sure to give your story a title (not part of word count) and to put your name as the author of the story. Sign your drawing too.
6. Honor system. You must create the story yourself and draw the picture yourself.
7. You may ask an adult to help you type the story (as you have told it) or take a picture of your handwritten story.
8. You may ask an adult to help you take a picture of your drawing.
9. You may ask an adult to help you enter the contest by posting it as a comment on this blog post by November 25, 2017.
10. You may do this as a class project. Everyone in your class will illustrate and write a story, and the class will vote to determine which story will be entered into the contest. Be sure to add to your entry your school name and location, your classroom number, your teacher’s name, and of course, the author’s name.

Cowgirl/Cowboy Fairy Abilities

As a cowgirl/cowboy fairy, you can . . .

• Ride horses.
• Use a lasso to capture anything.
• Herd cattle.
• Take care of horses, goats, donkeys, cows, pigs, and chickens.
• Fly.
• Use your wand and fairy dust to make magic.
• You can also add or create your own cowgirl/cowboy fairy powers and skills.
• Your friends may be fairies, humans, animals, or all of the above.


Help me spread the word for this contest and your name will go in a drawing for your choice of one of the following:
• A signed copy of Sienna, the Cowgirl Fairy Trying to Make it Rain
• A picture book critique
• A chapter book (first three chapters only) critique


1. Share one of the five prepared tweets below.
2. Visit my page in the SCBWI BookStop and sign my guest book, which is located on the right under my photo. Be sure to have a look around. There are lots of great 2017 children’s books to view. If you signed my guest book previously, that counts – just let me know in your comment.
3. Honor system. Share news of the contest with your child’s (or children’s) teacher(s), or any teacher, and your name will go in the hat twice!
4. Comment on this post to let me know you have tweeted and signed my guest book. And your name will be entered in the drawing. Good Luck! Don’t forget to let me know if you have shared the contest with teachers, so I get your name added a second time.


Children’s Writing & Illustration Contest. Great prizes! #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4

Children’s Writing Contest. Gift card, signed book, critiques. #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4

Children’s Writing & Drawing Contest. Prizes! #teachers #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4

Children’s Writing & Drawing Contest. Prizes! #parents #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4

POOF! You’re a cowgirl/cowboy fairy Children’s writing contest #SiennaTheCowgirlFaiy #SCBWIBookStop @alayne_kay https://tinyurl.com/ya5ra8f4


To art note picture

Guess what? Tara Lazar has a little more to share! She reached out to me about doing a second post on illustration notes. Why? Because she had just a little more to say. And I totally agree with what she has to say. So here it is. . . .


by Tara Lazar


Alayne, when it comes to art notes, I thought I said it all…

But the day my post was published, a friend said to me, “But I talked to [well-known illustrator] and he said he never looks at art notes. He told me not to bother.”

Well, I know this illustrator is widely published and award winning, but do not listen to him. (At least about this. Sorry, dude.)

The illustrator is not the first person to read your manuscript.

But who is?

The EDITOR you want to ACQUIRE IT.

So don’t think about the art notes being solely for your illustrator. They are more for your editor.

The editor must understand the story and your vision for it. If there is something they do not comprehend because you’ve been too stingy or cryptic with the art notes, then they may just send a rejection.

If an art note is necessary to understand the action, put it in. If your text says “Harry was happy” but you really want him to be hopping mad, the editor isn’t going to know that without [Harry is angry]. Editors cannot read your mind. This is your chance to ensure that she or he gets what’s happening.

After the editor acquires your manuscript, lots of changes may happen, including the stripping of art notes. And that’s OK. By the time illustration work commences, your illustrator has already been pitched on the story and its vision. There have been talks between the illustrator, editor, designer and art director. Your illustrator will be brilliant and do things that you cannot even yet imagine. They will blow you away.

But if the editor is confused while initially reading your manuscript, you will never even get to that step. Your story could be doomed to dwell in a drawer forever.

Remember, the art notes aren’t necessarily for your illustrator…but for your EDITOR.

Thank you for the bonus, Tara!

If you haven’t seen it, be sure to read Tara’s first post How Picture Book Writers can Leave Room for the Illustrator.

Check out – Illustration Notes: To Include Or Not Include on Johnell Dewitt’s site. It is loaded with info and resources on the topic of art notes.

Kidlit.com also has some good information about including illustration notes. (Full disclosure – I discovered this post in the Kidlit411 Weekly)



Tara loves children’s books. Her goal is to create books that children love. She writes picture books and middle grade novels. She’s written short stories for Abe’s Peanut and is featured in Break These Rules, a book of life-lesson essays for teens, edited by author Luke Reynolds.

Tara created PiBoIdMo (Picture Book Idea Month) as the picture book writer’s answer to NaNoWriMo (National Novel Writing Month). PiBoIdMo is held on this blog every November. In 2015, PiBoIdMo featured nearly 2,000 participants from around the world.

Tara was diagnosed with Multiple Sclerosis in 2010 and has permanently lost feeling in her feet and legs. She has an inspirational story to share about overcoming a chronic illness to achieve your goals and dreams. Tara can speak to groups big and small, young and old—just contact her for more information.

Tara is the co-chair of the Rutgers University Council on Children’s Literature Conference, a picture book mentor for We Need Diverse Books and an SCBWI member. She speaks at conferences and events regarding picture books, brainstorming techniques, and social media for authors. Her former career was in high-tech marketing and PR.

Tara is a life-long New Jersey resident. She lives in Somerset County with her husband and two young daughters.

Her picture books available now are:
• THE MONSTORE (Aladdin/S&S, 2013)
• LITTLE RED GLIDING HOOD (Random House Children’s, Oct 2015)
• NORMAL NORMAN (Sterling, March 2016)
• WAY PAST BEDTIME (Aladdin/S&S, April 2017)
• 7 ATE 9: THE UNTOLD STORY (Disney*Hyperion, May 2017)

To learn more about Tara and her work, visit her website.


At a recent SCBWI conference, one editor mentioned leaving room for the illustrator. So, I asked Tara Lazar if she would share what that means to her and give some advice on how to do it.


by Tara Lazar

“Leave room for the illustrator.” You hear it all the time.

But what does it mean?

I imagine the school bus, smelling like moldy socks and overripe bananas (which have an eerily similar aroma). Should you scoot over? Stop saving that seat for your bestie?

Well, kinda. The illustrator’s art is the elephant on the school bus. It’s the first thing people see when your bus…err, I mean book…rolls into the world. So it’s in your best interest to make that pachyderm shine.

So let the elephant speak for himself. Don’t shove words into his mouth. Don’t over-describe what he’s doing.

The elephant picked the perfect seat. [elephant in back, bus on two wheels]

The kids made him feel welcomed. [kids crowd in first row to balance bus]

It was a smooth ride to school. [flat tires]

OK, you see what I did there?

Read those lines without the art notes:

The elephant picked the perfect seat.

The kids made him feel welcomed.

It was a smooth ride to school.

Eh, rather ordinary without those notes. But with them, it’s funny. It might even be hilarious.

A picture book comes together when the words and the text play together. And sometimes there’s a tug-of-war between them that elicits giggles and guffaws.

Leaving some things unsaid is a technique you must learn as a picture book writer.

So go ahead, DON’T WRITE!

And that, my friends and elephants, is how you write a picture book.

Alayne: Tara’s guest post prompted me to ask one of the most common questions that picture book writers ask. . . .

“I’ve been told by agents that text should be clear enough that art notes are not necessary, so how do you leave room for the illustrator without art notes?”

Here is Tara’s answer. . . .

Well, what you’ve been told by agents is true…and also not true at all.

Often at conferences and workshops geared toward new writers, presenters steer picture book writers away from art notes. That is mostly because new writers tend to use unnecessary art notes. New writers either try to dictate what their characters should look like or describe action that is perfectly clear by the text (or at least well implied). So it is sometimes easier to put the ix-nay on the ote-nay at that level.

Also, some illustrators will tell you they don’t look at the art notes. And that’s fine. Once they understand the overall story, they can tuck the notes away and think of something better.

However, if what you have written is not understandable without art notes, if the story does not make sense without art notes, YOU MUST USE ART NOTES.

Look at DUCK, DUCK, MOOSE by Sudipta Barhan-Quallen. There are only three words in that book–really, two, because DUCK is repeated. If she submitted that manuscript without art notes, there would be no story. Her story is IN THE ART, IN THE ACTION.

I have written manuscripts that use so many art notes it renders the story difficult to read. In those cases, my agent and I submit the manuscript in grid format. There’s a handy post on my blog that talks all about it. (https://taralazar.com/2012/10/03/art-notes-in-picture-book-manuscripts/)

The art of playing tug-of-war with text and image is best demonstrated by author-illustrators. It’s a difficult skill for authors-only to master, but it is one that all the best authors use.

Alayne: For additional information, see my post on including art notes in manuscripts.

Tara Lazar head shot


About Tara

Street magic performer. Hog-calling champion. Award-winning ice sculptor. These are all things Tara Lazar has never been. Instead, she writes quirky, humorous picture books featuring magical places that everyone will want to visit.

Tara loves children’s books. Her goal is to create books that children love. She writes picture books and middle grade novels. She’s written short stories for Abe’s Peanut and is featured in Break These Rules, a book of life-lesson essays for teens, edited by author Luke Reynolds.

Tara created PiBoIdMo (Picture Book Idea Month) as the picture book writer’s answer to NaNoWriMo (National Novel Writing Month). PiBoIdMo is held on this blog every November. In 2015, PiBoIdMo featured nearly 2,000 participants from around the world.

Tara was diagnosed with Multiple Sclerosis in 2010 and has permanently lost feeling in her feet and legs. She has an inspirational story to share about overcoming a chronic illness to achieve your goals and dreams. Tara can speak to groups big and small, young and old—just contact her for more information.

Tara is the co-chair of the Rutgers University Council on Children’s Literature Conference, a picture book mentor for We Need Diverse Books and an SCBWI member. She speaks at conferences and events regarding picture books, brainstorming techniques, and social media for authors. Her former career was in high-tech marketing and PR.

Tara is a life-long New Jersey resident. She lives in Somerset County with her husband and two young daughters.

7 Ate 9

Tara’s picture books available now are:

• THE MONSTORE (Aladdin/S&S, 2013)
• LITTLE RED GLIDING HOOD (Random House Children’s, Oct 2015)
• NORMAL NORMAN (Sterling, March 2016)
• WAY PAST BEDTIME (Aladdin/S&S, April 2017)
• 7 ATE 9: THE UNTOLD STORY (Disney*Hyperion, May 2017)

A big THANKS to Tara for sharing her wisdom with us. To learn more about Tara and her work, visit her website at https://taralazar.com/



Mentors for Rent

Balanced Advice About Writing for Children and Young Adults

Blog - Anitra Rowe Schulte

Children's Author & Life Coach - Writer's Whole Life Perspective


Children's Author & Life Coach - Writer's Whole Life Perspective

Susanna Leonard Hill

Children's Author

johnell dewitt

nomad, writer, reader and aspiring author

One Good Thing

Teresa Robeson's 365-Day project

Nerdy Chicks Write

Get it Write this Summer!

Penny Parker Klostermann

Children's Author and Poet


Practical tips to help your writing dreams come true...


Children's Author & Life Coach - Writer's Whole Life Perspective

Catherine M Johnson

Sheep Art by Catherine

Noodling with Words

Children's Author & Life Coach - Writer's Whole Life Perspective

365 Picture Books

A picture book every day

Julie Hedlund - Write Up My Life

On Living the Dream and Telling the Tale

Picture Books Help Kids Soar


Carol Munro / Just Write Words

Can't write it yourself? Call Just Write Words.

Jo Hart - Author

A writing blog