MOWMT: Compelling Page Turns with Sarah Hovorka

March 25, 2025

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If you’ve ever searched for “page turns in a picture book manuscript” you’ll see a variety of contradictory advice usually focused on whether or not an author should indicate page turns in a picture book manuscript they are preparing for submission. That’s because the answer to that question is: it depends. 

It depends on the length and style of your story. It depends on potential illustrations. It depends on whether a page turn is necessary to the plot or pace development. It depends on the preferences or requirements of agents and editors. Often page turns aren’t necessary in a picture book manuscript at the time of submission; frequently it’s something that is added or modified later in the development process.

But what is necessary is that an agent or editor can see or feel natural spots where a page turn works. If your story feels like a giant chapter in a novel; even if there is a strong beginning, middle, and end, it can be hard to feel how it would fit in a book that needs to be broken down into discrete segments. Even better if a page turn doesn’t just work in many spots but amplifies elements of the storytelling to create a compelling page turn, one that urges the reader to turn that page. 

So, even if you don’t actually indicate page turns in the body of your picture book text, it’s important to think about this while drafting. Let’s take a look at some mentor texts that show different types of compelling page turns. 

An incomplete or interrupted thought is an obvious compelling page turn. This is where a sentence or idea is introduced at the end of a page and the reader must turn the page to finish it out. These are often indicated with an ellipsis, em dash, or even just a half of a sentence that continues onto the next page. An example of this is in The Epic Adventures of Huggie and Stick by Drew Daywalt and illustrated by David Spencer when the end of a page is “My only hope is that sharks are allergic to stuffed animals…” This sets up the reader to expect immediate gratification as soon as they turn that page. 

Ending a page with a question can also create a compelling page turn. People are curious, especially young people, and positing a question naturally leads readers to want to know the answer. In The Crayon Man by Natascha Biebow and illustrated by Steven Salerno, one page spread talks about all the colors of crayons in the brand-new crayon box and ends with “Would children like them?” Readers have to turn that page to find the answer.

Sometimes a compelling page turn is not so obvious. In Something Spectacular: A Rock’s Journey by Carmela LaVigna Coyle and illustrated by Carly Allen-Fletcher, the story starts by introducing a rock sitting still beneath the sea, but then the end of a page spread is “But all that would not last forever.” This alludes to something big happening and highlights this by putting the text in italics. Why won’t it last forever?  What’s going to happen? The hint of something big happening compels readers to turn that page to find out.

People are curious and that can inspire compelling page turns. People are also empathetic and that can inspire compelling page turns, too. In the book Camouflage Mom, written by me and illustrated by Elif Balta Parks, a young girl is grappling with big feelings about her mom being away at boot camp and wonders how she can still feel connected to her mother. One page spread ends with “Mom is here. Mom is here. Mom is here.” Readers know something big is happening for the main character, and since they care about her, they want to see her have a happy ending. They must turn that page to make that happen.

Even more subtle are compelling page turns that depend on a series of actions taking place. In Make Way for Ducklings by Robert McCloskey, one page spread starts and ends with “She taught them how to swim and dive.” Taken on its own, this doesn’t seem so compelling. But the proceeding page spread introduces the idea that the mother duck knows how to raise the ducklings, and the succeeding page spreads completes the series of actions showing that she does indeed. Each page spread gives the reader a taste of something almost being completed that will eventually propel the story forward. The delayed gratification will be worth it once that page is turned. 

These examples are not exhaustive of all the ways to write a compelling page turn. Pick up a picture book and try to identify what is making you want to turn that page, then unleash your creativity and try to write your own compelling page turns. I’d love to hear about any interesting examples you find in published works or fun examples you write yourself. Share in the comments below!

Sarah’s prize is a picture book submission package critique. The winner can submit three of their best picture book manuscripts and a query for feedback.

Sarah Hovorka is the author of Camouflage Mom; Unicycle Dad; Same Love, Different Hug; and Hattie Hates Hugs; as well as novels and short stories for children and adults. In addition to writing, Sarah homeschools her three children and spends her free time reading and playing video and board games. You can find out more about her, her books, and follow her blog at www.SarahHovorka.com or connect with her on:

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BlueSky https://bsky.app/profile/sarahhovorka.bsky.social

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