What publishers reeeeally want to see in your picture book pitch

Summary

Podcast Summary:

The Good Ship Illustration – “What publishers reeeeally want to see in your picture book pitch”
Episode Date: November 7, 2025

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Main Theme & Purpose

This episode dives into what publishers are truly seeking in picture book pitches. Hosts Helen Stephens, Katie Chappell, and Tania Willis—each experienced illustrators—share frank, encouraging advice and personal stories, demystifying the pitching process, discussing the upcoming Bologna Children’s Book Fair, and offering insights into overcoming creative confidence hurdles.

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Key Discussion Points & Insights

1. Bologna Children’s Book Fair Excitement ([00:27]–[02:34])

• The team excitedly discusses their (almost completed) plans to attend the Bologna Children’s Book Fair, a pivotal event for illustrators and publishers.

  • Helen: “We thought it was exciting until a minute ago because we thought we’d booked a stand at Bologna, but we now realize none of us have done it yet.” [00:27]
  • Bologna is described as “the Frankfurt of children’s book fairs” where publishers sell co-editions internationally, and illustrators network.
  • There’s pride in community achievement: “We had six people who were runners up to for the illustrators exhibition and one of them, Lisa Lofredo, was actually in it.” [01:27]

• Pitching Opportunities:

  • The Good Ship’s upcoming Picture Book Picturing masterclass is announced—a free event for anyone interested in breaking into picture book publishing.
  • “You don’t have to be in the course. That’s happening on the 17th… we’ve had 70 picture books published between us… a masterclass all about how to get a foot in the door.” [02:10]

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2. Real Talk: Pitching to Publishers—What REALLY Matters ([02:34]–[04:53])

• There is no perfect formula:
  • Helen shares her personal experience: “The way that I pitch a book is usually that I might go in for a meeting with a publisher… they ask if I’ve got any ideas and I pull something out that’s kind of scrappily sketched out.” [02:56]
  • “Everybody’s saying the same as me. It’s true. There isn’t like a list… you don’t have to write a letter that’s this many words addressed to somebody in a very specific way.” [03:31]
  • Persistence is vital: “Send them out to everybody at once. Don’t get hurt when you don’t reply... They might open your samples and love your dogs, but… just send it again next year.” [03:42]

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3. The Accent Debate & Fun Diversions ([04:53]–[06:03])

• Playful tangent about British accents on words like “masterclass.”
  • “Geordies do master. They say Master and plaster and quite a few other words with that long A.” [04:56]
  • This segues to the idea of multiple perspectives (and voices!) in the group, keeping things light and relatable.

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4. Making Connections & Getting Noticed ([06:03]–[07:53])

• Visibility is key:
  • “I interviewed a lot of art directors and editors… all of them said that they’re looking on Instagram. So if you like Instagram, get your work on there… have a lovely portfolio on your website.” [06:43]
  • Networking through professional bodies like the Society of Children’s Book Writers and Illustrators is encouraged.
  • “When they stitch all those little bits and pieces together... All of those like little ticks help them see you as somebody who is being noticed and they remember you.” [07:24]

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5. Overcoming Pitching Anxiety & Mindset Shifts ([07:53]–[11:21])

• Many listeners dread sending work to publishers; the hosts normalize this fear.

  • “I literally [am] in tears [at] the thought of sending my work for someone else to look at it.” [08:00]
  • Helen recalls: “We used to call it pants down time… when it’s published in the September edition… Oh, God, no.” [08:42]
  • Katie: “I wonder if it’s like desensitizing yourself… We didn’t like looking at ourselves on camera or hearing anything recorded ever. And it was excruciating.” [09:09]
  • Notable quote:
    • “And what’s the worst thing that can happen? They’ll say, I don’t like it. And that’s one person that doesn’t like it.” — Katie [09:38]
    • “If they don’t like it, they just ignore me. And I… assume that they absolutely love it, but they’re too shy to get in touch.” — Helen [09:43]
    • “What other people think of you is none of your business.” — A [10:06]
    • “Everyone’s got an opinion and some of them stink.” — C [10:13]

• Mindset advice:

  • Your work is enough.
  • Rejection is normal, and rarely personal: “It’s so unlikely that they would love your idea and go, ‘we love that so much, we’ll ask somebody else to do it.’” [11:44]
  • “If you want to be an illustrator and you really want to do this, just get on with it. Don’t let anything get in your way. No one can stop you except yourself.” [11:21]

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6. The Myth of Being Magically ‘Discovered’ ([12:00]–[12:22])

• The hosts debunk the notion that talent alone is enough for publishers to find you.
  • “If you’re really talented, you don’t have to promote yourself, which is a lot of rubbish.” — B [12:15]
  • Proactive marketing is essential (Instagram, contests, networking).

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7. Looking Ahead to Bologna: Fun, Community, and Trends ([12:57]–[16:46])

• The team discusses booth plans, merch (tote bags, stickers), and in-person podcasts for the 2026 fair.

  • “We stood in a smelly ditch. This time we have an actual stand.” [13:54]
  • “If you’ve ever thought of going, do it this year. It’s so much fun… You see the best work ever. It’s exhausting… but the inspiration will keep you going forever.” — A [15:01]

• International Perspective:

  • “If you think your work doesn’t fit into whatever country you live in, when you go to Bologna, your work will fit in somewhere.” — B [15:31]
  • Exposure to diverse international trends can be career-changing for illustrators.

• Quirky ideas for connecting with fellow creatives:

  • “We could have so much fun. I want us to make a big Gone Fishing sign as well for when we go for a wander.” — C [16:40]

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Memorable Quotes

• “Just do it. Send, send, send.” — B [07:53]
• “What other people think of you is none of your business.” — A [10:06]
• “Your work is enough. Yeah.” — C [09:37]
• “If you want to be an illustrator… just get on with it. Don’t let anything get in your way. No one can stop you except yourself.” — A [11:21]

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Timestamps for Important Segments

• Bologna Book Fair chat & community shoutouts: [00:27]–[02:34]
• Pitching advice and realities: [02:34]–[04:53]
• Accent & tone banter: [04:53]–[06:03]
• Visibility and building networks: [06:03]–[07:53]
• Mindset challenges & overcoming fear: [07:56]–[11:21]
• Dismissing the myth of being discovered: [12:00]–[12:22]
• Bologna plans & value of global fairs: [12:57]–[16:46]

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Conclusion

This episode offers a warm, practical, and occasionally hilarious inside view into the picture book pitching process. The consensus: there’s no secret formula—persistently share your work, build your network, and don’t let self-doubt sideline your passion. Above all, embrace visibility and community, whether online or at inspiring events like the Bologna Book Fair.

Transcript

[A]

Sa.

[B]

So exciting news, guys. Well, we thought it was exciting until a minute ago because we thought we'd booked a stand at Bologna, but we now realize none of us have done it yet. But we're gonna do it.

[C]

Yeah, we've talked about it so much that we convinced ourselves it was booked.

[A]

I think it's probably happening in real time right now, hopefully. Which is even more exciting.

[B]

Yeah.

[C]

If you haven't heard of Bologna, it's a big book children's book festival in Bologna.

[B]

An international children's book fair.

[C]

That's the one.

[A]

It's like the Frankfurt of children's book fair.

[B]

Yeah. Everybody goes to buy and sell co editions to each other. So if you have a book commissioned, your publisher takes it to Bologna Book Fair and your publisher sells it to as many publishers in different countries as they can. But it's also a massive hub for illustrators turning up and socializing and eating pizza and taking their folio around. What else goes on? Workshops, exhibitions.

[A]

There's the Bologna competition for the exhibition and we've got. How many good shippers are in the Bologna?

[B]

Well, I think we had six people who were runners up to for the illustrators exhibition and one of them, Lisa Lofredo, was actually in it.

[C]

That was very exciting. We went and found our work and.

[A]

Took photos this year, actually, at this point, because the deadline, if you're interested, November is the deadline.

[C]

If you're listening to this, quick, just.

[A]

Grab anything, send it in.

[C]

Also today, the 7th of November, we are starting a special thing where if you join the picture book course, you get actual snail mail in the post.

[A]

It's not a real snail.

[B]

Squished stickers in the post. Sticker pack, sticker pack. Which is very exciting. Also we're gonna have the Picture Book Picturing masterclass, which is a freebie for anybody. You don't have to be in the course that's happening on the 17th. Is that lunchtime one o' clock UK time. Me and Jane Porter, between us, we think we've had 70 picture books published. So we've pitched a lot of books. And yeah, we're going to do a masterclass all about how to get a foot in the door, how to get your idea in front of the right people.

[A]

Helen had to do this because using the Helen rules to life, which are just do what you want and ignore the rules. Whenever anyone asked about pitching, she said, just send it. Send it to any publisher you want, as many as you want, or all at the same time and ignore what they say. But because no One believed and thought, well, Helen, you're published. It's easy for you to say that. She went and asked other illustrations.

[B]

Yeah, I thought, well, you know, my first book was published in 1998, so what if my advice is actually kind of out of date? And maybe it's. The way that I pitch a book is usually that I might go in for a meeting with a publisher or we might have a few zoom calls where we get to know each other, and then they ask if I've got any ideas and I pull something out that's kind of scrappily sketched out, but because they're used to reading rough drawings, they understand it.

[A]

I.

[B]

That is the only way I have ever pitched. And. But because everybody's always asking my advice and I say that and people look at me in disbelief, I thought, hang on a minute, maybe it's all different and maybe I'm not doing it correctly. Maybe there is a correct way. So I have now interviewed three people and I'm about to interview another, and so far, everybody's saying the same as me. So you just try and get seen by waving your hands about on Instagram, sending out samples by email and in the post. And then if you can get a zoom call or a meeting, show them your ideas, which do not have to be worked up into a final idea. It might be sketched in a sketchbook, might be on a few bits of paper. You might have done one finished illustration or a really lovely folio. So they can see what your work's like, so they can imagine how it would. How your work would look visually. Yeah, everybody's saying the same as me. It's true. There isn't like a list. You don't have to write a letter that's this many words addressed to somebody in a very specific way. Send them out to everybody at once. Don't get hurt when you don't reply, because some of them put all of the letters they receive in a big pile and open them once every three months or six months or something. They might open your samples and love your dogs, but they've just published a brilliant book about a dog, so just send it again next year or the year after, because they might be up for another dog book by then. Yeah, so that. Yeah, we're gonna do a masterclass, a.

[A]

Quick diversion into that north south thing. Do you remember when you said you had a hybrid?

[B]

Yeah. On the A word, I think it's because I'm ever so slightly Geordie. So Geordies do master. They say Master and plaster and quite a few other words with that long A. Whereas a north northeast thing generally is that your A is flat, isn't it? Master class. I say the word class and bath, but I say the word plaster and master and I think it's because I'm halfway between Yorkshire and Newcastle, so I've got a foot in each camp.

[A]

It's good that you can hear it, can't you? You're aware of your own accent as though you're standing by your side.

[B]

It's because so many people have pointed it out to me. What's that voice? Why are you being all posh around the word plaster?

[C]

It makes the master class sound more important, though. Master class.

[B]

Master class.

[A]

This is a Southern version. Master class, I would say Master class.

[B]

Oh, see, I'm master class. So that doesn't make any sense.

[A]

You're hybrid.

[B]

Yeah.

[A]

You've got a short one and a flat one in the same word.

[C]

And I'm saying master class. So we're like bridging the accents. We've got three.

[A]

Yeah, three different accents in one place. Now you've told them, but that hasn't preempted. Is there lots more juicy stuff in the pitching master class?

[B]

Oh, so much more. We're going to really dig into it. Jane and I had a fantastic conversation about it. We met up in a cafe and we talked for a solid two hours, just brainstorming all the bits and pieces that might be useful for submitting your picture book ideas. We've made a slideshow, we're ready to go. We're very excited.

[C]

I'm excited.

[A]

And it's free because it's like voodoo, isn't it? When you say, just get a meeting with a publisher. Get a meeting with a publisher. That's like saying, just get a million pounds and then start spending it. It's impossible. How so? That bit.

[B]

It's impossible if you don't start getting yourself in their face. But, you know, when I was making the picture book course, I interviewed a lot of art directors and editors in publishing and all of them said that they're looking on Instagram. So if you like Instagram, get your work on there and then have a lovely portfolio on your website. So they might find you on Instagram and click through and look at your folio. Try and get invited to any of the brilliant kind of picture book support things like the Society of Writers, Society.

[A]

Of Children Books, Writers and Illustrators.

[B]

They have some really good workshops and those workshops invite publishers. You get to meet them face to face and have a chat. When they've seen your face and you send them a sample, they're like, oh, I remember that person. So you need to sort of make lots of connections so that this person remembers your name because they saw it on Instagram and then they sent us that nice thing on the post and it, oh, yeah, I've got above my desk. And oh yeah, they entered that competition and they won. And when they stitch all those little bits and pieces together, you submit your work to the Bologna Illustrator Illustrations exhibition and you get long listed or shortlisted. All of those like little ticks help them see you as somebody who is being noticed and they remember you.

[A]

You got to be in it. Yeah.

[B]

And don't be shy. Just do it. Just do it. Send, send, send.

[A]

I got an interesting question in the course comments this week and someone said, I just find it excruciating to write to a publisher or, or an art director or anyone with my work. And the only thing that gets me through it is because I love drawing and illustrating so much. But it. And this person isn't alone in this. A lot of people said it. I literally in tears the thought of sending my work for someone else to look at it. I've tried 100 rejections. Have you got any other mindset tips that can get me to send my work to a publisher when. When I just feel I cannot because it's too embarrassing. What do you think, Katie?

[C]

I was wondering how that's gonna feel when that work gets published because then everyone's gonna see it.

[A]

I don't know, it's just strange. We used to call it pants down time.

[C]

Pants down.

[A]

Hey, I got a job. And then it's published in the September edition and September 1st comes out.

[C]

Everyone's like, oh, God, no.

[A]

I did such a terrible job of it. I can't bear everyone to see it. And you have to do 10 of those. Then you're all right. Your work gets more natural and you get less self conscious. But you're right at the other end is the showing work. So it's really essential, isn't it, to find a way to overcome the self consciousness, lack of confidence.

[C]

Yeah. I wonder if it's like desensitizing yourself. Like we did start in the Good Ship. We didn't like looking at ourselves on camera or hearing anything recorded ever. And it was excruciating.

[A]

Yeah.

[C]

At the thought of things going out. I probably did cry early days, like, oh, people are gonna hear what we've said.

[A]

Oh, no.

[C]

But now just like, don't even think about it because we do it all.

[A]

The time and we don't care anymore. I enjoy doing this and I know that I'm doing it in a way that's okay. So I try to close yourself down. And that's what you'd want them to feel that too. Your work is enough. Yeah.

[C]

And what's the worst thing that can happen? They'll say, I don't like it. And that's one person that doesn't like it.

[B]

Has anybody ever said to you, I don't like it? Because nobody's done that to me. If they don't like it, they just ignore me. And I, I then I assume that they absolutely love it, but they're too shy to get in touch.

[C]

That is the key.

[A]

I love your mindse it. I was like, no, you're safe. Because whatever anyone thinks about it, you don't know because they're not going to tell you. And that that great phrase, what other people think of you is none of your business.

[B]

Yeah, I love that phrase. It is really good.

[A]

Keeps you safe mentally.

[B]

Does. Yeah.

[A]

Just crack on.

[C]

Everyone's got an opinion and some of them stink.

[A]

Like opinions are like armpits and everyone's got one. But some of them stink as well.

[B]

Yeah.

[A]

I just think you need a mindset that makes you feel safe, which is you'll never know and it doesn't matter. Matter.

[B]

Exactly. Yeah.

[A]

And you'll be dead soon. So crack on.

[C]

And you can't even control what other people think anyway. Even if you did like the most perfect, amazing work ever and contacted them in the precisely correct way, somebody would be offended or not like you work or something anyway.

[A]

And you think. I think sometimes you can see people looking at an amazing work. You know, it's amazing work. Might not be yours, might be someone else's. And they reject it. And you think they've got no taste. How do they not know that is some of the most amazing work around. And that particular art director rejects it. And then you see them commission something else. You're like, oh geez.

[B]

And they might be rejecting you for a whole. There's so many reasons they might be rejecting you. Like they've done something similar recently or it's just not their personal taste or it wouldn't. They're looking to sell to a specific market and this work doesn't fit that market. It's not necessarily they don't like your work or you.

[A]

If you want to be an illustrator and you really want to do this, just get on with it. Don't let anything get in your way. No one can stop you except yourself.

[B]

And there's no way around it really. Because we often have people say, I'm frightened of sending my idea in case they copy it. This is in the world of picture books. If I send my idea, what if somebody copies it? But if you don't send your idea, it definitely will not happen.

[A]

Yeah.

[B]

And it's so unlikely that they would love your idea and go, we love that so much, we'll ask somebody else to do it.

[A]

Let's make our lives really complicated. See if someone can consider, conceive of this idea exactly the way it went through that person's head. They've got to guess and redo it.

[C]

Maybe this is also the myth of people thinking like, if you're talented enough and amazing enough, somebody will magically find you and choose you from your living room, even though you've never posted anything. And they'll just know that you exist.

[B]

Yeah.

[C]

It's like if you're really talented, you don't have to promote yourself, which is a lot of rubbish.

[B]

Yeah, totally.

[A]

I think I thought that when I came out of college for a long while, you know, that that's how it works.

[B]

I know so many really don't show off.

[A]

Just quietly sit there and see if someone will find you. And I think rationally people thought that was a strategy. It's only when the importance of marketing came about through the Internet that you could no longer ignore it. I just thought gallery directors just floated because. Because I graduated in fine arts. So it was even more complicated. How would you get a show? How could you be part of an exhibition or even have your own exhibition? Do gallery dealers float through your window at night and rummage through your studio and then in the morning say, I had a look. Yeah, I'll give you a show.

[B]

We're talking about Bologna Book Fair. Yeah. Do you know what I'm most excited about having? Having Tanya's brilliant graphics blown up really big on those big decal sticker things and sticking them all over the stand.

[A]

It's gonna be so good.

[C]

And we've been looking at what, what freebies we can get to hand out.

[B]

I have a brother in law who has a sweetie shop. He might be able to get us some good ship rock. Can you imagine?

[C]

It's too exciting.

[B]

Rock with the words good ship illustration running through it. Yeah.

[C]

It's gonna be so good. And we're gonna like maybe do pop up workshops or talks or something.

[B]

I don't know. Yeah, maybe Also, we were thinking of some sort of post box where you could put your podcast questions in.

[C]

We're gonna do podcasting at Bologna.

[A]

Take our tame field recordist with us. My husband, he'll record us all, make some films as well and interviews with people. So if you're planning to go, come and say hi.

[C]

And if you've got any good ideas of what we could do as well.

[B]

Is there anything people would desperately like from us at Bologna? Do you remember last time we went, we stood in a smelly ditch. This time we have an actual stand.

[C]

Can you imagine we've graduated from standing above the sewer.

[B]

We just said we'll be. We'll be in this. What do you call those spots between.

[A]

I said, we'll be between Hall C. Between the halls at 2pm and then when we got there, it. We couldn't move because people had sort of. We. People had gathered around a bit and it was too late. We were above a stinking ditch in.

[B]

The full sun and we were melting in the smell. But yeah, this time, actual stand.

[A]

Oh, and if anyone knows of a good tote bag company, we want to make some bags. But there's so many. If. If you're a good tote bag company out there, get in touch. Want to make some good shit bag bags to give away.

[B]

And stickers. We'll get loads of stickers.

[C]

Got badges, some more of them.

[A]

And then we're going to have lovely dinners. That's what I'm looking forward to. The lovely meals to get and the gatherings. Yeah. If you've ever thought of going, do it this year. It's so much fun.

[B]

It is.

[A]

And you just see the best work ever. It's exhausting. So you have to go and buy special shoes and calipers and everything and maybe some vitamins. That will keep you awake for three days Work and the inspiration will keep you going forever. It's a bit life changing. I'm not even a children's book illustrator and I got so excited about the work I saw there more than anywhere else. It's like a massive global gallery, if you like figurative work. When you see what can be children's book material in other countries, it's mind blowing.

[B]

Yeah. If you think your work doesn't fit into whatever country you live in, when you go to Bologna, your work will fit in somewhere. There's so much amazing work. I remember when I first was trying to get published back in the 90s and every publisher I went to see was saying, your work's too sophisticated. Too sophisticated. And then I went to Bologna and I saw what was being published there. It's like, how can my work. It's not too sophisticated. This stuff is being published all over the world. It's really interesting seeing all the different markets.

[A]

Totally. I think when you see things like the Chilean market or the Argentinian Portuguese.

[B]

Planet Tangerine, I still think about it all the time.

[A]

It's just the best way. It is, isn't it? When we saw that site, and those are the. You just come across places that have got a really healthy, creative, progressive publishing industry for children's picture books. It's like, wow.

[B]

Do you remember when we were there last time? I was at the time before we saw that psychiatrist booth, like the one on Charlie Brown. We think we should have one of those. Wouldn't that be brilliant?

[C]

Or like an agony ant stall.

[B]

Yeah.

[C]

Come and ask us a. A timer. You get two minutes.

[B]

It'd be brilliant, wouldn't it?

[C]

We could have so much fun. I want us to make a big Gone Fishing sign as well for when.

[B]

We go for a wander around. Okay.

[A]

See you next week then.

[C]

See you, Bologna.

[A]

See you there.

[C]

Spring 2026 Bye bye for.

[A]

Sam.