A few days ago in Think Before You Write, I mentioned that although a picture book is short, it doesn’t take a short time to write:
You whittle down the length so every word packs a punch, while still presenting a compelling page-turner, full of illustrative potential. (Which means you have to leave some things unsaid.)
So what does that mean? Leaving some things unsaid? Well, I’ve found perfect examples from Kathi Appelt. (Yes, Newbery Honoree Kathi Appelt. She knows her stuff.)
Today my daughter asked me to read Appelt’s Bubba and Beau Meet the Relatives, one of our favorite picture books.
Appelt says a lot with a little, meaning she uses a few words to describe a situation, leaving illustrator Arthur Howard to fill in the blanks.
Bubba and Beau Meet the Relatives is about a baby boy, his bloodhound puppy and the Texan family relatives who come to visit one afternoon. Bubba’s Mama Pearl quickly prepares for the relatives’ arrival.
Appelt says: “First Mama Pearl went on a home improvement spree.”
Howard draws: Mama Pearl shoving clothes into a drawer, pushing an overstuffed closet closed, and sweeping Bubba’s toys underneath the bed.
Notice it took 19 words to describe the illustrations, but Appelt only used 9 words to set the scene.
Appelt says: “Then she handed out orders.”
Howard draws: Mama Pearl pointing to a cobweb which Big Bubba swats with a broom, Mama Pearl holding a bag for the bloodhound to put away his bones and balls, Big Bubba vacuuming with Beau riding the cleaner.
And there it took 36 words to describe the illustrations, but Appelt only used 5. (OK, I could have described the art in a tighter fashion, but I think you see my point.)
Later in the story, Appelt introduces “…Cousin Arlene and her dog, Bitsy.”
Appelt says: “Honey, it was froufrou city.”
Howard draws: Cousin Arlene in a frilly pink dress, with a pink bow to match the one atop Bitsy’s fluffy head.
Once again, Appelt’s petite word count packs a humorous punch, with Howard’s illustrations telling half the story.
In our favorite scene of the story, Bubba, Beau, Arlene and Bitsy have just been discovered in the mud hole. “Only one thing to do,” says Big Bubba.
Page turn. (Which means a surprise is coming!)
Appelt says: “Yeehaw, honey! It was a picture-perfect day in Bubbaville.”
Howard draws: The entire family sitting in the back of Big Bubba’s truck, which has been filled with a hose so it’s a southern-style pick-up truck pool.
At kidlit conferences and events I’ve repeatedly heard that picture book writers must leave room for illustrations. Bubba and Beau provides a superior example of how to write a successful tale that inspires brilliant pictures. The words and images work beautifully together like Bogey & Bacall, Astair & Rogers, and Lady Gaga & Elton John. (OK, maybe that last analogy wasn’t so good. But I needed something current.)
If you have a recommendation of a picture book that says a lot with a little, let’s hear it!
Writing for Kids (While Raising Them) 
14 comments
Comments feed for this article
February 20, 2010 at 6:12 pm
Corey Schwartz
Great post. I’m linking to it this week!
February 20, 2010 at 6:28 pm
Boni Ashburn
Diary Of A Wombat by Jackie French, which to me is a PERFECT picture book for this exact reason. Nice post, Tara!
February 21, 2010 at 8:04 am
Barbara
Huzzah, Tara!
(But Elton John and Lady Gaga? Sup with that?)
Less is more and from an illustrator standpoint I mostly agree.
But there are always exceptions and often there is room for more text. I think it really depends on the book itself. It really depends on the book itself.
With that I’m at about 500 on my latest WIP and when I dummy it I am sure it will change. Again.
Barb
February 21, 2010 at 11:32 am
tara
Hey Barb, nice to hear from you!
Sure, I think you have a point, it can depend upon the book itself. There are lovely books with lots of text–we just reread one last night: THE ORANGE SHOES by Trinka Hakes Noble. It must be about 1500 words, but the story is so perfect, I don’t think she could remove a single word and make it better. And then, on the opposite side of the story spectrum, there’s wordless picture books like WAVE by Suzy Lee. Add a word? No way!
I suppose my point in posting this is that you don’t have to write about every small detail–what your character looks like, for instance. I remember going to a first page session where the author was explaining the difference in height between twins and bogging down the description in numbers–the editors became lost. Another time, someone wrote about a mother setting the table and where she placed the napkin, something that had nothing to do with moving the story forward. That author was instructed to remove empty words.
Go to the pull down menu under “Blog Topics” in the left column and select “First Page Session” to see more insights from these events. You know I love them!
February 21, 2010 at 1:01 pm
Barbara
Hey Tara!!
I love your blog, and yes I’ve read your commentary on the first pages here. Thank you SO much!
They are the best thing about conferences I think.
(Also, thanks for your critique of my pig story. It was extremely helpful. And now it is re-dummied!)
Barb (AE)
February 21, 2010 at 2:55 pm
tara
Barb, I’m so glad my critique was helpful and I’m excited for your new version! Good luck with it!
February 21, 2010 at 9:51 am
Lori Degman
Great post Tara! You’ve inspired me to look at my two “finished” PBs and take out some text that would be better shown through illustration! These days, a lower word count is a good thing 🙂
February 21, 2010 at 2:41 pm
Diana
Great post, Tara!
In Fancy Nancy and the Posh Puppy, there’s a page that reads simply, “Look what my sister is doing now!”
I do wonder in these situations whether the author included illustrator notes. Sometimes I also wonder if it’s a good idea to leave a teeny bit more text initially to help the editor visualize? Maybe not.
Do you think Kathi Appelt included illustrator notes or had more description in the unedited version?
February 21, 2010 at 2:53 pm
tara
I would really love to know what illustration notes were on her manuscript! This was the second book in the Bubba & Beau series, so she established the characters and situations in the first book. And, she’s published many books, so the relationship with her editor (and the supremely talented Arthur Howard) may be one of complete understanding.
I hear a lot of conflicting advice about illustration notes. Only use them when they’re necessarily to understand the text, but then again, don’t use too many or it will spoil the pacing. I met one editor who said she LOVED illustration notes because it helped her understand how the writer envisions the text. And I met yet another who said many times they’re completely unnecessary. Hard to know what to do, but again, I think it’s boils down to writer instinct because it’s such a subjective thing.
February 21, 2010 at 9:17 pm
DianaM
That’s very interesting. I’m surprised to hear that some editors actually like them!
I guess illustrator notes are just something you need to be aware of–to make sure you’re not using them as a crutch.
And you’re right, I think an established editor/author relationship would make a huge difference.
Good food for thought! 🙂
February 22, 2010 at 7:08 am
Barbara
You gave one of the best critiques I’ve ever had. Seriously. You found the problems and I fixed em. (Tara give great critiques, guys… wink wink)
Re illustrator notes. I would only use them only when absolutely necessary as in a contradiction to the text.
One editor I spoke with said this, and also if you write concept books you can use them freely.
If you have no formal author/editor relationship as of yet it is best to follow the rules to a tee (shirt, T-Square or a Prince of Wales Tea… whatever).
Barb
March 2, 2010 at 10:05 am
Beth Coulton
He Came With The Couch by David Slonim- fantastic!!
March 3, 2010 at 3:08 pm
Christina Rodriguez
Thank you for showing such appreciation for children’s book illustrators! The way I look at it, we’re creating the world based on how the writer’s words inspire us. It’s how we lend our “voice” to the work, and a great opportunity to tell a strictly visual “secondary story” by adding fun illustrative details.
March 4, 2010 at 2:21 am
michelle
what an awesome article, just what I need! The PB manuscript i am revising is up at 700 words…cut, cut , cut! thank you!