How to Self-Publish a Children’s Book in 6 Magical Steps

There are, generally speaking, three different levels of edits to think about and evaluate when you're looking to hire an editor: Editorial Assessments, Developmental Edits, and Line or Copy edits.

There's also Book Coaching, Proofreading, and fact-checking, which I'll circle back to at the end.

Editorial assessments are a great first step once you've finished your manuscript. You're hiring an editor to give you a high level view of your work and get a written assessment of the areas that need to be strengthened. This should give you enough feedback to go back into the manuscript and start making editorial changes to help get your novel into a better place.

Developmental edits can take place at a similar time frame, when the manuscript is finished and you're ready for another set of eyes to get in there, but each author is going to have their own needs between a developmental edit and an editorial assessment. Where an editorial assessment offers feedback in a single letter, a developmental edit goes much further, suggesting and also showing the places in which your story might need to be restructured or characters altered and shifted.

Line edits or Copy edits, should happen after all other editing is done. Think of this as the last polish once everything else is set and ready to go. This is where sentence by sentence edits happy to make your writing stronger and clearer.

Proofreading and Fact-checking would also happen after copy edits. These are truly the final stages when you're not making large changes anymore and simply fixing / correcting all of the pieces that are already in place.

Book Coaching stands a bit alone, as this is a bespoke service that some editors offer. You can get a book coach incredibly early on if you want to hire someone to help you form your ideas, characters, plot, etc. Or you can bring them in halfway through when you need to figure out next steps.

A professional editor should respect your voice and project. Honestly, it's as simple as that.

The best way to be sure that will happen is to hire an experienced editor and also ask for a sample edit, especially with line/copyedits. Seeing that sample edit and thinking about how the editor engages with your voice should tell you everything you need to know. Chances are, you won't agree with everything an editor recommends because editing is a subjective business, but if the editor is keeping in mind your particular voice and project, and if they're experienced and aligned with your vision, you should probably expect to agree with 80-90% of their recommendations.

That said, there are exceptions! I once had an author tell me she only agreed with about 40% of my copyedits, and I was horrified. I immediately told her that meant we weren't a good fit...and then she told me that she'd had three previous editors, and she'd only agreed with about 10-15% of what any of them had suggested! In fact, she was thrilled with my work! This particular author was simply extremely attached to even the smallest nuances of her language use, and had a lot of trouble working with an editor at all. I came to realize that her taking even 40% of my suggestions was actually a pretty serious compliment, odd as that may sound.

With developmental edits, things get a little trickier, but respect is still the ultimate goal. An editor shouldn't be trying to rewrite your story. Ideally, you want a developmental editor who will respect your story and help you find its full potential without injuring your vision. If they point out plot holes, they might point out different ways to address those fixes (and you can talk to them in advance about whether or not you want them to), but they won't insist on you taking any of those fixes; they'll only strongly suggest you fix the plot hole. Similarly, if you've got a 180,000 word paranormal romance on your hands, they'll be right to talk to you about the realities of publishing and how difficult it will be for you to find an agent, but they shouldn't be rewriting the book for you or lecturing you. (In a case like this, I'd personally be having a conversation with the author to talk about their publication plans, the realities of publication, and options for how to go forward, whether that would mean splitting the book into two or cutting subplots...but it would be a conversation, and not a lecture). If an editor is telling you how to rewrite your book and you didn't ask them to do so, they're not the right fit for you, and you should move on--because yes, it's a matter of respect for your project and you.

A good editor of any kind—developmental, copyeditor, etc.—is going to honor your voice and want to help you hone it. It's good to keep in mind that your editors are not trying to make your writing less unique, they're trying to guide it to be the best it can be. With that understanding in place, make sure you're reading their feedback from a place of trust and open-mindedness. Once they've read a few hundred words of your manuscript, an editor will often have an idea of your voice and will do their best to work with your voice, not against it.

Editors will often offer an explanation for an opinion-based change, and it's important to hear their perspective. (And if your editor isn't offering an explanation for a particular change from the get-go, feel free to ask them for one.) If you find that you're declining a lot of changes in an ongoing partnership, try to afford your editor the same respect and offer an explanation as to why their changes aren't working for you. That will improve their sense of your goals for your manuscript and they can adjust their feedback accordingly. They'll probably be really excited to now be on the same page and might have some fresh new ideas!

Another thing to keep in mind is that sometimes—especially in creative writing—you may think you're doing something clever on the sentence level, and then your editor tells you they're confused by it and/or that it's wrong. As in grammatically incorrect, or conveying the wrong message, or illogical, or any number of things for which there is technically a black-and-white rule in the English language. In these instances, remember that in general the impression you want your reader to get is more important than being clever. Sometimes you may just need to be disappointed that the clever thing you thought you were doing wasn't so effective after all. And if you feel strongly about maintaining a style that's sometimes "wrong" (maybe it's important to your character building), work with your editor on how to make sure you're still being understood by the reader.

Above all, remember that your editors are on your side! They want to help your writing be its best, not be exactly like everyone else's. Your editors want to work with you. Make sure you're working with them, too!

Including illustrations (Don't! unless you are an author-illustrator)

Funky fonts (You can't go wrong with Times New Roman, double spaced, 12 pt size)

Extensive art notes (It's important to leave room for the illustrator to tell part of the story; keep these to a minimum)

Pagination (Too early in the manuscript stage! Just use paragraph breaks for now)

This is for all manuscripts, really.

Standard manuscript format is Times New Roman, 12 pt font, though a font like Calibri works fine too. The manuscript should be double spaced with new paragraphs indented. There should not be an extra line break between paragraphs! Word's default is to add those line breaks, so you'll have to go in and remove them!

Whenever a new character/person is talking, it's a new paragraph.

Each chapter should start on a new page.

Use CTRL/ENTER to start a new page versus hitting the return key until there's a new page.

Page numbers can be at the top or bottom, and in that same header/footer you should include the manuscript's title and your name: GREAT BOOK/Author name.

One of the most common mistakes I see with self-published authors is setting unrealistic timelines for their publishing journey. Many writers plan their schedule far too tightly and only reach out to professionals—whether editors, designers, or marketers—at the very last minute.

This creates unnecessary stress on both sides: the author feels rushed and overwhelmed, while the professionals either have to decline the project or take it on under less-than-ideal conditions. In the worst case, authors struggle to even find available professionals because their preferred timeline doesn’t allow for the necessary lead time. Many professionals book out months in advance, so it’s wise to plan at least four months ahead—and in many cases, even that may not be enough time.

It’s also important to remember: as self-publishers, you are free to set your own pace. Unlike in traditional publishing, there is usually no external deadline or audience impatiently waiting for the book—especially when it’s a debut. That pressure often comes only from a self-imposed timeline. Instead of rushing, it’s far wiser to take the time to do everything properly, work with professionals without stress, and then launch the book when it’s truly ready.

Publishing a professional-quality book requires space for collaboration, revisions, and creative breathing room. When timelines are compressed, the process becomes about “getting it done” rather than “getting it right,” which can ultimately compromise the quality of the finished book. A thoughtful, realistic schedule not only reduces stress but also ensures that every stage of the process—from editing to design—has the attention it deserves.

One of the biggest traps authors fall into when self-publishing is thinking that the hard part ends once the book is written.

In reality, self-publishing is as much about production as it is about creativity, and overlooking that side can leave even the best manuscript looking unprofessional.

I’ve seen too many writers skip professional editing, try to design their own cover, or leave marketing as an afterthought, and the results are usually disappointing. But just as important, and often less discussed, are the mistakes around the actual printing and publishing process. Authors frequently go with the first printer they find rather than getting at least three quotes, which is a sure way to overpay.

Others don’t ask whether VAT will be added on top of the quoted price, only to discover the true cost later.

Perhaps the most heartbreaking mistake is not asking to see samples of the paper and materials being used; the author waits excitedly for their book to arrive, only to be handed a flimsy volume on cheap stock that feels nothing like the work they poured their heart into.

The truth is, self-publishing is about producing a product as much as sharing a story. Taking the time to ask questions, compare options, and insist on seeing exactly what you’ll be paying for can mean the difference between a book that looks like an amateur project and one you’re genuinely proud to hold in your hands and which reflects the hard work you have put in as well as the hopes, naturally enough, of your client to hold a book in their hands which is a quality item.

I've read a fair number of self-published books, and one thing I have noticed is that an unprofessional interior book design does impact my reading experience.

Interior book design is about all that invisible work that makes a book visually pleasant to read. If the lines break poorly, if the font is too big or too small, if the line spacing is too tight or too loose, if the font selection is one that's difficult on the eyes, especially after reading for a long time--all of this will subtly make your reader tired while reading, and, perhaps subconsciously, less likely to enjoy reading your book. They might not even know why! And by the end, they may be left with this feeling that they didn't want to pick up the book to read it as much as they have other books, which is not a feeling you want your readers to have, especially for something so easily fixable.

A well typeset book is unnoticeable. That's the point! Your reader doesn't notice the words on the page. Instead, they glide over them, immersed in the story. But a poorly typeset book stands out. Your reader's attention is pulled from the story again and again because the words are too squished together to read easily, or because there was one dangling line all by itself on the last page of a chapter and that looked odd, or because the font for the text messages was inconsistently applied.

Interior book design is an important part of the publishing process that I think a lot of self-publishing authors overlook.

Two mistakes I've encountered through my work with self-publishing authors are definitely common, but perhaps not super obvious at first thought.

Mistake #1: Hoping to ultimately publish with a traditional publisher, but self-publishing first as a means to “test things out.”

Self-publishing should be a conscious and very intentional choice that you make because the process appeals to you, not something you do as a test drive. Once it’s published, it’s published. In fact, as a former slush pile evaluator, I quickly learned that a previously-self-published submitted manuscript was often a no-go for the publisher I worked with. Why? Well, any self-published copies of the book that had been already sold are sales the publisher might have otherwise been able to count on — chances are, if you’ve self-published your book, you’ve already gotten all your friends and family to purchase a copy. Those are all opportunities for sales no longer open to the publisher. So, if you want to self-publish, that's great! But make sure that, whatever you decide on, you're making an intentional and conscious choice.

Mistake #2: Consider your use of copyrighted works and get permission!

This applies to nonfiction and fiction works alike: If you are including previously published content in your book, do your research and understand what may require permission to use. If you're including lengthy quotations or extracts from books, short quotations to open your book chapters (i.e., epigraphs), song lyrics (yes, even just one line of a song), poetry, or photographs/artwork, you will need to seek permission clearance from the copyright holder to legally include that content in nearly all cases. I can tell you, based on several years of experience in permissions editing, that the process of figuring out who the copyright holder is, applying for clearance, hearing back, and finalizing the clearance can take MONTHS. And you may not even be granted permission, after all that effort! It can also be very expensive — publishing companies and record labels especially will charge you per usage and based on the amount you've used. So, do your research, know the risks, and decide accordingly.

I think the biggest mistakes all come back to the same three issues: 1) Rushing to publication, 2) Over-confidence, and 3) Reliance on friends/family instead of professionals.

1) Rushing to publication. Many first-time authors finish a draft and are so proud of themselves that they believe the work to be done. But while it's true that writing a 50-100,000 word story is a real accomplishment, a first draft is only a draft. Hiring a proofreader or asking some friends to proofread and give some quick feedback so that you can get the book out there simply isn't enough. Rather than rushing to publish, it's important to take the time to make sure the book is fully developed, ready for an audience, and clearly placed in the market upon release. If getting a professional edit or cover done means you need to take some time to save for those services, then you need to do so. Rushing to publish just so you can move on to the next book or say you're done is a route to finishing, but it's not a route to having a book that can succeed or satisfy readers.

2) Over-confidence. Confidence is a great thing, but you don't know what you don't know. It's important to research market/genre expectations, and you need to be practical. No matter how great a story you've written, you can't just put a book up on Amazon and expect readers to find you. Have confidence in your work, but know that it also takes a professional editor, professional cover, and real marketing to make your work stand out. Unrealistic expectations are a recipe for being so disappointed that you end up paralyzed when it comes to writing the next book. Planning or expecting that your work will be the exception to the rule won't gain you anything but disappointment.

3) I hear all the time that someone's mother or friend is an English teacher, or reads non-stop, so obviously their editing is taken care of. But just like editing and writing are different skillsets, editing and teaching and reading are all very different. Some of my first beta readers were incredibly smart individuals who had degrees in English. Their feedback got me nowhere, either because they wanted to encourage me or because they simply weren't thinking critically about what I was writing and what the story could be (vs what was already on the page). You need to have objective strangers giving you feedback because you need the honesty that will come from that objectivity. Relying on friends and family alone is a good way to be blindsided by negative reviews. Similarly, you can have the best of intentions by letting your friend or son design your cover...but if it's not up to professional standards, you've handed that person a compliment and feather in their cap at the expense of your book. Readers won't care *who* did the cover for your book, but they will care if it looks professional.

I don't know if they are most common, for sure they are the most striking. I'll divide them into two categories:

I. PRODUCTION MISTAKES

1. Cover.

The only thing worse than self-made cover is a self-made cover that is missing the mark of its genre. Which happens depressingly often.

Don't do one or another. Yes, it takes time and money to find the right designer. It is worth doing it right, many times over.

2. (No/sloppy/self-) Editing.

There is no worse reading experience than reading an interesting story full of typos or weird wording.

There is never enough editing. And when your early readers (or reviewers!) tell you there is something wrong with your text listen to them and fix it.

3. Hurry.

Don't write and publish in a rush. Some people are clueless, so they screw their cover design and/or editing. But most production mistakes are born from trying to publish too quickly.

Don't cut corners. Do a couple of rounds of mocking up a cover. Do a few rounds of editing. Share your first draft with beta readers.

And take time to set up your marketing right.

II. MARKETING MISTAKES

I make a living advertising books. Many of the mistakes below come to the one advertising adage: You confuse, you lose.

1. Forgetting the "self" in self-publishing.

You have no idea how many times I've heard from authors this line: "I hate marketing. I want to put it on autopilot and/or delegate out."

I always say to my clients that I'm their second-best option; the best option is an author themselves. Even if I understand the book market, I'll never understand their book as good as them.

If you genuinely want your book to succeed, you must be its Chief Marketing Officer.

Yes, from time to time there are new tools that can market your book on autopilot. In 2016, Amazon ads; in 2020, BookTok. But they work only for some time, even if measured in years.

What lasts? You, at the helm of all your marketing efforts.

2. Title, subtitle, keywords, categories and blurb.

The good news is that as a self-publisher you can always fix those later (well, not the title).

The bad news is how many authors disregard those crucial elements. They shape the understanding of your book by the store's algorithms and readers.

Your book description is your sales page, not a synopsis. Write it accordingly!

3. Abdicating the marketing.

See point #1. There are plenty of shoddy services out there. There are plenty of services that overpromise and underdeliver. And authors, in their desperation to make their 'baby' successful, are falling for them.

4. Chasing visibility.

In my practice, I've seen authors spending - consistently for months - a few thousand dollars to sell a few dozen copies of their book in the vain pursuit of "visibility."

Visibility is worth spending money on only during the launch and promotions.

The most common mistakes authors make when self-publishing are: 1) Not focus-group testing yout title and subtitle, Check with Amazon for duplicate titles, and ask friends/colleagues 2) Not obtaining at least 2 endorsements, for front and back cover. 3) Not creating a publisher name for themselves Amazon. If you publish under your personal Amazon account, the "publisher" will be listed as "independently published," which can erode credibility. Instead, set up your KDP account in the name of a publisher you invent. There are many more, like poorly-designed covers and interiors, but these are of the most overlooked.

Common mistakes:

Unrealistic or distorted view of public interest (Harsh, I know.)

Family and friends aren't fans--neither are paid reviews. It is important to be as objective as possible when assessing your book's popularity. I say this because many indie and early-stage authors believe they need what NY Times BEst Selling authors need, and that can lead to a lot of wasted time and money.

Acting as your own publishing company

It may seem like creating a separate name as your "publishing company" but the reality is, you don't yet have a company. This can be misleading to actual publishers that may be interested or contribute to the mistake mentioned above. These days, authentically doing everything on your own is more appealing to readers and publishers than the "fake it 'til you make it" strategy.

Starting a blog

If you aren't ready to commit to a regular schedule or writing blogs in batches, you don't need a blog on your website. Focus more on a simple and clear website and point of sale, then drive traffic to it. A blog isn't going to get you traffic unless you treat the blog itself as a business of its own.

Making sure you build in enough time into your publishing timeline for an ideal marketing launch is important. This would be at least two to four months in advance of the book's publication date. Creating buzz before the book lands in stores (or online), such as submitting for advance trade reviews from review journals, will help optimize your book for great sales numbers that first week. And hopefully, those initial sales will then prompt consumer reviews early on.

Another important--and easy--marketing tactic for self-published authors is to never underestimate the power of local marketing. An author's community is generally looking to champion someone who has done well or achieved something exciting within their own backyard. A local story or coverage about an indie author's book can go a long way to generating a larger story outside of their community. And sometimes that can even organically lead to amazing coverage in a major newspaper or television segment.

For children's books, it can be challenging for a self-published author to get into schools and libraries unless you are distributed through a wholesaler. Pounding the pavement has its rewards, going to local schools and libraries, offering a storytime or autographing, leaving behind sell sheets for your book. Educators and librarians are huge influencers and their word of mouth is gold for many families and caregivers of young children.