What to Prepare Before Hiring a Children’s Book Illustrator

Before hiring a children’s book illustrator, you do not need to have every visual decision figured out. What you do need is a stable manuscript, a clear target age group, a rough idea of your book format, basic character information, and an understanding of your budget and timeline.

For a typical picture book, the visual planning also needs to account for more than the number of pages. A 32-page book does not automatically require 32 separate illustrations. Depending on the pagination and storytelling, a 24–32-page picture book may use roughly 12–15 principal illustrations, while other 32-page projects may have around 15–17 illustrated spreads. The exact number depends on how the story works visually.

The goal of preparing a project brief is therefore not to tell the illustrator exactly what to draw. It is to give them enough information to make good visual decisions with you.

Here is what to prepare before contacting a children’s book illustrator, from your manuscript and character notes to revisions, file delivery, and project expectations.

Is Your Manuscript Ready for Illustration?

Your manuscript should be stable or very close to final before illustration begins. Minor wording changes are usually easier to accommodate, but major changes to the plot, characters, setting, conflict, or ending should ideally be resolved first.

This matters because illustration is closely connected to the structure of the story. A change to one scene can affect character poses, composition, visual pacing, page turns, and the number of illustrations required.

The later the change happens, the more work may need to be repeated.

How Finished Does My Manuscript Need to Be Before Hiring an Illustrator?

Your manuscript does not have to be completely untouchable before you contact an illustrator. However, the story itself should be stable enough that the illustrator can begin planning the visual sequence.

Minor changes are usually manageable. These might include:

• Replacing a word
• Correcting a typo
• Adjusting a sentence for rhythm
• Making a small dialogue change
• Refining wording without changing the scene

Major changes are different.

If you change the ending, remove a character, introduce a new scene, change the setting, or alter the central conflict, the visual plan may also need to change.

For a picture book, this can affect much more than one illustration. A new scene may require a new spread, a different page turn, a different character pose, or changes to the surrounding artwork.

That is why a useful workflow is:

Stable manuscript → visual planning → sketches → final artwork

The manuscript does not need to be perfect in every sentence. It needs to be stable enough for visual decisions to be made.

What Happens If I Change the Manuscript After Illustration Has Started?

The effect depends on both the size of the change and the stage of production.

A wording change that does not affect the artwork may be relatively simple. A new scene after the sketches have already been approved can be much more complicated.

The difference becomes especially important once final artwork has started.

Changes During the Sketch Stage

The sketch stage is generally the most flexible point for visual changes.

At this stage, the illustrator is working with rough compositions rather than fully rendered artwork. You can still discuss things such as:

• Character position
• Pose
• Scene composition
• Background
• Visual emphasis
• Whether a moment deserves a full spread
• Whether a page turn works as intended

This is why authors should take sketch approval seriously.

If something feels wrong, unclear, or inconsistent with the manuscript, it is better to raise the issue at the sketch stage rather than wait until the artwork is fully rendered.

Changes After Final Illustration Has Started

Once final illustration begins, changes become more expensive in terms of time and production effort.

The illustrator may already have completed color, textures, lighting, background details, and character rendering. A major manuscript change at this point can therefore require substantial redraws.

For example, changing a character’s shirt color is different from changing the character’s action, expression, position, and surrounding environment.

Some professional illustration agreements also specify revision limits and additional charges for work outside the agreed scope. Published 2026 service examples show revision rounds being defined separately at different production stages.

Before work begins, ask:

What happens if I change the manuscript after sketches are approved?

That one question can prevent misunderstandings later.

How Much Visual Planning Should You Prepare?

You do not need to create a professional storyboard before contacting an illustrator. A simple page or spread breakdown is usually enough to communicate the basic story structure.

For a 32-page picture book, the number of illustrations is a planning decision rather than a simple page-count calculation. One 2026 illustrator, for example, starts 24–32-page projects at approximately 12–15 principal illustrations. Other published guides use around 15–17 illustrated spreads for a typical 32-page picture book.

This difference is important because some pages may contain text only, some images may span two pages, and some spreads may use smaller spot illustrations.

Do I Need to Create a Page-by-Page Breakdown Myself?

No. You do not need a professionally designed storyboard.

However, a simple book map can make the first conversation much easier.

At minimum, you can identify what happens in each spread and which moments are important to the story.

A simple breakdown might include:

• Text
• Key action
• Emotion
• Setting
• Page-turn moment

For example:

Spread 8–9

Text: The child realizes that the lost puppy has followed them home.

Key action: The child turns around and notices the puppy.

Emotion: Surprise and relief.

Setting: Front yard at sunset.

Page turn: Reveal the puppy hiding behind the gate.

Notice that this does not tell the illustrator exactly where to place the characters or how to draw the gate.

It communicates the storytelling goal.

What a Simple Page Breakdown Can Include

Element	What to Note
Text	Words appearing on the spread
Key action	Main event happening visually
Emotion	Character’s main feeling
Setting	Location and important environment details
Page-turn moment	What should be revealed or changed

You can create this yourself, but you do not have to solve every visual decision.

Depending on the project scope, the illustrator or studio may create thumbnails, storyboards, or a visual book map after reviewing your manuscript.

Who Decides What Should Be Shown in the Illustration Versus Written in the Text?

A picture book works through the interaction between words and images. The strongest result usually comes when the two add information rather than repeat exactly the same thing.

If the text tells readers that a child is walking through a forest, the illustration can contribute information that the words do not explicitly state.

Perhaps the child is nervous. Perhaps a tiny animal is following them. Perhaps something funny is happening in the background.

The words and pictures can tell different parts of the same story.

When the Text Should Lead

Text should carry information that requires precise wording or cannot be communicated clearly through the image alone.

This can include:

• Dialogue
• Important narrative information
• Specific plot details
• Information that depends on exact wording

If changing one sentence changes the meaning of the story, the text needs to do that work.

When the Illustration Can Do the Storytelling

Illustration can carry information such as:

• Emotion
• Character reactions
• Physical action
• Visual humor
• Background details
• Visual surprises
• Atmosphere

A 2026 guide to picture book illustration similarly emphasizes that illustrations should add information beyond simply reproducing what the text says.

This is why authors do not necessarily need to write detailed visual instructions for every sentence.

Sometimes the best direction is simply to explain what the reader should understand or feel.

What Character Information Should You Prepare?

Character information helps the illustrator create consistency throughout the book. You should identify details that matter to the story while leaving less important visual decisions open to interpretation.

Useful character notes include age, personality, important physical traits, clothing, recurring accessories, expressions, and relationships with other characters.

What Information Should I Include in My Character Descriptions?

For each major character, consider preparing:

• Age
• Personality
• Important physical traits
• Clothing
• Recurring accessories
• Common expressions
• Relationship with other characters

Personality can be especially useful.

Instead of writing a long physical description, you might describe a character using three to five key traits:

Maya, age 7

• Curious
• Easily distracted
• Brave when someone needs help
• Loves collecting small objects
• Always carries a yellow backpack

That information gives the illustrator a foundation for visual interpretation.

Essential Character Details

Essential details are characteristics that should remain consistent because they matter to the story or the character’s identity.

For example, a particular accessory might belong to a character’s late parent. A physical feature might be important to the plot. A character might need to be visually recognizable because they appear repeatedly.

Those details should be clearly communicated.

Details You Can Leave to the Illustrator

Not every visual decision needs to come from the author.

You may know that your character is shy without knowing exactly how that shyness should appear in their posture.

You may know that a character is energetic without knowing what facial expressions they should make in every scene.

This is where the illustrator’s expertise becomes valuable.

A useful principle is:

Communicate what cannot change. Leave room for the illustrator to decide how it can be shown.

Do You Need to Know Your Illustration Style in Advance?

No. You do not have to know the technical name of an illustration style before hiring an illustrator.

If you know the feeling you want, that can be enough to start the conversation.

You might describe your book as warm, playful, quiet, humorous, adventurous, or slightly mysterious. You can also point to children’s books that communicate a similar mood.

Do I Need Reference Images If I Don’t Know What Illustration Style I Want?

Reference images are helpful, but they are not mandatory.

Instead of searching for one perfect illustration style, collect references that communicate specific qualities.

These might include:

• Color mood
• Character feel
• Level of detail
• Environment
• Composition

You may like the color palette of one book, the character expressions of another, and the environmental details of a third.

The purpose of these references is to communicate direction, not to ask an illustrator to reproduce another artist’s work.

Useful References to Collect

Ask yourself:

What should the book feel like?

Warm? Funny? Calm? Adventurous?

How should the characters feel?

Soft? Expressive? Energetic? Realistic? Stylized?

How detailed should the environment be?

Minimal backgrounds or richly developed settings?

What kind of compositions do you like?

Close-ups? Wide scenes? Large character moments? Varied layouts?

You do not need technical vocabulary to answer these questions.

What If You Have No Visual References at All?

That is fine.

An experienced illustrator or studio can develop possible visual directions based on the manuscript, target age group, subject matter, and tone.

You can describe the reading experience you want rather than trying to name a style.

Should You Decide the Book Format Before Hiring an Illustrator?

You should have at least a rough idea of the book format before final illustration begins.

You do not necessarily need every technical specification at the first consultation. However, orientation and trim size can influence composition, cropping, bleed, focal points, and text placement.

Changing the format after final artwork is complete can create unnecessary production work.

Should I Hire an Illustrator Before Deciding the Book Size?

You can speak with an illustrator before making the final decision, but it is useful to have an initial direction.

The three basic orientations are:

• Portrait
• Square
• Landscape

For Amazon KDP, for example, paperback books have a minimum page count of 24 pages, while 32 pages is a common structure for picture books. The exact trim size and production specifications still need to be selected based on the publishing route.

The important point is to discuss format before final artwork is created.

Can the Illustrator Help Me Choose the Trim Size and Book Format?

Yes, depending on the illustrator’s or studio’s scope.

A studio that also handles layout and production may be able to help you consider:

• Publishing platform
• Target age group
• Orientation
• Reading experience
• Illustration composition
• Text placement

Common Picture Book Formats to Consider

Portrait uses a vertical page orientation and can work well for character-focused scenes and traditional picture book compositions.

Square provides a balanced canvas and is widely used for picture books.

Landscape creates a horizontal composition that can work well for movement, scenery, and wide environments.

There is no single format that is correct for every story.

Why Format Affects Illustration

Your format can affect:

• Spread composition
• Cropping
• Bleed
• Focal point
• Text placement
• Page turns

This is why deciding the format early can prevent unnecessary adjustments later.

How Should Revisions Work?

Revisions should be discussed before the project begins and written into the agreement.

There is no universal number of revision rounds for every children’s book illustration project. However, several published 2026 professional services use 2–3 revision rounds as part of their packages or workflows.

The more important question is not simply “How many revisions do I get?” but “At which stage can I make those revisions?”

How Many Revisions Should I Expect?

Revision rounds are often divided by production stage.

For example, an agreement might provide opportunities to review character designs and sketches before final artwork, followed by a more limited opportunity for minor final adjustments.

Some 2026 illustration services specify two sketch-stage revisions and one final-color revision per spread.

Your agreement may be different.

Character Design Revisions

Character design is an important early checkpoint.

You may review:

• Character appearance
• Clothing
• Proportions
• Expressions
• Important accessories
• Overall consistency

Once the design is approved, it can be applied throughout the book.

Sketch Revisions

Sketches are usually the best stage for substantial visual feedback.

This is where you can discuss:

• Composition
• Character position
• Pose
• Scene selection
• Visual pacing
• Page-turn opportunities

A change made here is generally easier to manage than a change to completed artwork.

Color and Final Artwork Revisions

Final artwork revisions should usually focus on smaller adjustments unless the contract specifically allows more extensive changes.

For example, a minor color adjustment is different from asking the illustrator to redraw a character, change the background, and move the action to another part of the spread.

That is why authors should provide careful feedback before final artwork begins.

What Should You Receive at the End of the Project?

Before hiring an illustrator, ask for a written list of final deliverables.

Depending on the project scope, you may receive final illustrations, print-ready files, cover files, layout files, and digital files for online use.

What Files Should I Receive When the Project Is Finished?

Possible deliverables include:

• High-resolution final illustrations
• Print-ready files
• Cover files
• Layout files, if included
• Digital preview files
• JPG or PNG files for online use, if included

Do not assume that every possible file is automatically included.

The scope should be agreed upon before production starts.

Print-Ready Files

Print-ready files should follow the requirements of your publishing platform or printer.

For print illustration, 300 DPI at the final print size is a common technical requirement. For an Amazon KDP project, the exact file dimensions, bleed, margins, and color requirements should be checked against the current KDP specifications.

If you are working with an illustrator, ask whether they are delivering the finished artwork or the complete print-ready book file.

Those are not necessarily the same thing.

Digital and Marketing Files

You may also need files for:

• Website
• Social media
• Online book listings
• Digital previews
• Promotional materials

If you plan to use illustrations outside the book itself, clarify whether those uses are covered by the agreement.

Should You Receive the Source Files?

Not necessarily.

Source files such as PSD, Procreate, or layered working files are not automatically included in every illustration project.

If you want them, ask before hiring the illustrator.

Your agreement should specify whether source files are included, whether there is an additional fee, and what you are allowed to do with them after delivery.

What Should You Prepare Before You Contact an Illustrator?

A simple project brief can make your first conversation much more productive.

You do not need a 20-page document. You need enough information for the illustrator to understand the story, audience, scope, and expectations.

A Simple Checklist Before You Contact an Illustrator

Project Information	What to Prepare
Manuscript	Stable or near-final version
Audience	Target age group
Book structure	Estimated page count
Story planning	Basic page/spread breakdown
Characters	Key character notes
Visual direction	Optional references
Format	Preferred orientation or trim size
Budget	Approximate budget range
Schedule	Desired timeline
Revisions	Questions about revision rounds
Deliverables	Questions about final and source files

You do not need perfect answers for every item.

For example, you may know that your book is intended for children ages 3–8 but still be unsure about the final trim size.

That is something you can discuss with the illustrator or studio.

What You Don’t Need to Have Figured Out Yet?

Preparing for an illustrator does not mean you need to become an illustrator yourself.

First-time authors sometimes assume they need to provide a complete visual blueprint before contacting a professional. You do not.

You do not necessarily need to have:

• A professional storyboard
• Finalized character designs
• A perfect trim size
• Complete technical specifications
• A finished mood board
• Detailed illustration directions for every page

These decisions can often be developed collaboratively.

You might know that a scene needs to feel chaotic and funny without knowing where every character should stand.

You might know that your main character carries a yellow backpack without knowing exactly how the backpack should look.

That is enough to start a productive conversation.

Your role is to communicate the story, important character information, non-negotiable details, and the experience you want the reader to have.

The illustrator’s role is to interpret those elements through visual storytelling.

Final Thoughts: Come Prepared, But Leave Room for Collaboration

Preparing before hiring a children’s book illustrator is less about having every answer and more about knowing which decisions need to be made early.

Start with a stable manuscript. Know your target audience and approximate page count. Prepare basic character information and, if useful, a few visual references. Have an initial idea of your publishing format, budget, and timeline.

It is also worth remembering that a 32-page picture book is not automatically a 32-illustration project. Published 2026 guidance shows examples ranging from roughly 12–15 principal illustrations to around 15–17 illustrated spreads, depending on how the book is paginated and how the visual storytelling works.

The same principle applies to revisions. There is no universal number, but published professional packages commonly show 2–3 revision rounds at defined stages. What matters is knowing exactly when feedback is expected and what happens when a request falls outside the agreed scope.

Most importantly, you do not need to solve every visual question yourself.

Children’s book illustration is a collaborative process. The author brings the story, characters, intent, and important details. The illustrator brings visual storytelling, composition, character interpretation, and illustration expertise.

Come prepared with a strong foundation, but leave room for the illustrator to contribute to the visual direction.

You don’t need to have every visual detail figured out before reaching out. A good illustrator can help develop the visual direction of your manuscript, from character development and page planning to final illustrations.