Writing the Book of Your Heart While Being Mindful of Market Trends

Writing children’s books in an evolving publishing industry

I’ve read many a blog or interview from children’s author peers who state some variation of the phrase: “How I write for my childhood self.” I almost certainly said something similar after signing my first book deal with Usborne for The Boy to Beat the Gods.

While there is truth in that statement—after all, it was probably the books we read as kids that inspired us to tell stories in the first place—it can be a difficult path when self-fulfilment is your sole motivator or requirement for writing books. Especially if you’re seeking career longevity. You must also meet your audience, or the market, where they’re at. And there are various ways to do this. The first thing to do is observe the lay of the land. In children’s fiction, where last year literacy rates were recorded as the lowest they’ve been in a generation, and reading for enjoyment was also registered at a saddening low, it’s been vital that we authors cater to the changing appetites of our readers—to make sure that the enjoyment is there.

2025 saw publishers, booksellers, and librarians swing towards more visual treatments such as graphic novels, highly illustrated titles, and shorter word counts to address the worrying trends they saw. But regardless of whether you’re writing for young people or adults, there’s a delicate balance to be aware of.

Marketing your book matters

On the one hand, you want to satisfy yourself first, but on the other, you know that marketing the book really matters. Support from sales and publicity teams matters—so having that undeniable hook, or a solid pitch, in addition to a quality story, is essential.

As writers who are probably going to be working on a draft or two of a manuscript before our editor even sees it, then editing for a few more rounds once they have, we need to truly love what we write and really believe in it. Otherwise, writing can become a slog, and the love of the craft—the reason we’re here in the first place—is sucked away. And if you’re not excited by what you’re writing, how can you expect your reader to be?

But at the same time, there’s the recognition that publishing is a business. After getting the novel published, these books have to sell, and that goal is helped massively if you have a pitch or conceit that will grab the intended audience and keep them invested—by giving them the same but different, subverted, or novel.

Think about how your book will be promoted and seen by big publishers

I have two major award-nominated books published, and I can confidently say that both of these are books of my heart.

But as well as telling the stories I needed to tell, I also had one eye on how these stories would translate to others: how they’d be received by a bookseller and hand-sold to customers, how a publicist would pitch them when trying to get me opportunities, how a marketer might push me online, and why a young reader might gravitate towards my book when presented with several options.

It’s a balance. Here’s an insight into how I’ve navigated this through my burgeoning author career, since I started writing.

1. Find relatable themes that will inspire your target audience

I don’t know about you, but for me, even if I’ve plotted meticulously, often it’s when writing the first draft that I find out what my story is really about.

‍It’s something The Novelry mulls over a lot: such as this blog by Emylia Hall.

The themes and character arcs become apparent, and the story at its core begins to take shape beyond my beats, character sheets, and planned reveals. What I’ve learned is that the deeper message is really important for the reader experience. That said, sometimes something else entirely is needed for the consumer experience. Your first goal is to get readers to pick up the darn book. Getting them to fall in love with it is the second.

With The Boy to Beat the Gods, I realised that my story was really about the collective power of many in the face of the tyranny of a few. There were a lot of things going on in the real world that I subconsciously wanted to speak to, and there was wisdom I wanted to share with young readers so they didn’t feel hopeless.‍

Libby Page has a very insightful blog about finding hope and healing through fiction right here.

2. Keep your eye on other stories, franchises, and genres that are currently popular

But what was the hook? My first book featured one eleven-year-old boy going up against seven malicious gods to get his kidnapped sister back. The promise of an epic quest, super high stakes, and mythological baddies.

I tapped into the popularity of ancient mythology with my demographic; I knew the Percy Jackson TV series was on the way, so I shaped my pitch accordingly, even if I’d never picked up a Rick Riordan book in my life.

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This positioning was front and centre for consumers, but in reality, all I really wanted was to bring an amazing pantheon of West African gods to a wider audience and remind people of the indomitable power of the human spirit. Writing a fast-paced fantasy adventure was a great way to achieve that.

With my second book, Spirit Warriors, admittedly, my pitch was a little trickier than my debut’s to convey. The plot was denser, the themes a little more mature. I was signed on a two-book deal, and this was the last one. As far as I was concerned, there were no guarantees I’d get another chance to publish my words, so I took a gamble and wrote the book I wanted to see in the world, as if it were my last.

3. Channel your personal emotions into something universally relatable

It was personal—exploring grief—but of course, grieving is also universal. The book took cues from real history that I wanted to preserve and celebrate for future generations, but delivered as a fast-paced adventure, drawing from riveting Caribbean folklore. So I leaned into that cultural aspect instead when pitching.

The idea is really about drawing from the past to create a better future—on a personal level for my main characters—but also for the world they move through. But at the time I was writing, horror was proving incredibly popular in younger fiction.

Katalina Watt has explored why this genre has enjoyed a resurgence over at this blog.

So I made a point of going hard on the supernatural aspect in my pitch—it’s fantasy-adventure, yes, but very spooky and thematically dark as well. I knew kids would love that combination, and that was a way I could convey my message to the core readers while still giving thought to how I could appeal to bookshop consumers.

Following trends is often spoken of in my circles with a sigh or an eye-roll.

But to me, it doesn’t necessarily have to mean hopping onto whatever is topping bestseller lists in the hopes of cashing in (although that does happen in this industry! And fair play to the writers who choose to go that route). It can also be a strategic alignment with whatever is doing well, and positioning your story accordingly, where relevant/possible, so people take notice. Remember your first goal—getting others to pick up your story in the first place.

4. Prioritise your hook when pitching your novel

So, first, give agents, publishers, and readers the hook: something that’s going to entice them and give them a reason to back you. As well as an irresistible pitch, comparison titles can be helpful for this reason, too. Second, give them something extra by letting the real content and quality of your writing speak for itself.

With both of my novels, I gave the promise of action and adventure when I pitched: the type of pacy storytelling and tension people get from stories in film and TV. But I also attempted to deliver an emotional journey, a memorable cast of characters, and to share things I’ve learned that I believe are important for young people (soon to be coming into young adulthood) to hear.

That was my something extra beyond the idea, beyond the pitch. These stories are everything I’d want to share with a younger version of myself, wrapped up in the kind of action-adventure stories that capture kids’ imaginations indiscriminately.

Your checklist for balancing your book’s best interests with marketing trends

• Keep your finger on the pulse: See what other authors are currently putting out there. Look at new books, short stories, TV shows, films, social posts, and video games too. What’s popular today? Always be aware of the cultural zeitgeist. Gather all the information and listen.
• Observe the bigger picture: Think beyond the publishing process and consider how your book could be perceived online or during promotional events. Think about your book’s broader themes and how they’ll reach people.
• Focus on how your book looks: In our modern times, that very famous idiom about judging a book by its cover is maybe a little dated. Discuss with your cover designer the feeling you want your story to exude.
• But also, how your promotional materials look: What does your website look like? Your social media? Ensure a cohesive creative strand runs throughout the marketing imagery. This tells a story in and of itself.
• Remember you’re in it for the long haul: A successful book marketing campaign often starts long before the book’s release date and continues after publication, focusing on driving sales and media coverage. Your book’s “shelf life”, as it were, is much more bountiful than just publication.
• Discover your “something extra”: What makes your idea special and unequivocally yours, beyond the pitch? What makes you like your story? Never forget this one!

Perhaps my key takeaway here is that knowing your reader is just as important as knowing and satisfying yourself. And in writing stories for whatever version of ourselves we choose to, we also owe it to them to give our writing careers the best chance of success and longevity.

The Novelry takes writers from book idea to book deal, helping them gain confidence, find their stories, and finish their books. Discover your writing community and which course might work for you, from editing your manuscript to developing your big idea.