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I held a workshop about writing for children in October, where I used what I've learned from experience, reading, and workshops. I compiled the information and organized it, inserting my own thoughts and ideas.
I hope your Christmas was full of peace and love, and Hanukkah left hearts full of light.
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Children's Writing Workshop
Many people believe that writing for children is easy, that anyone can do it. Having children doesn’t make a person qualified to write for children either. For example, just because I have a heart doesn’t mean I can do open heart surgery. Writing of any kind takes training, starting with reading the type of literature to be written, studying how to write and for a certain audience. In fact writing for children is harder than writing for adults because the length of a children’s story is shorter: the plot, characters, conflict, and action has to be concise and precise. Also a child’s attention span is shorter.
So how can a person learn to write for children? One way is to attend conferences and workshops about writing for children. Which brings us to today.
Hopefully you have a few children’s books with you to examine as we discuss what is needed to write successful stories (which hopefully can become books) for children.
Now, let’s look at some suggestions for writing successful children’s stories:
1. Learn how to write. Children’s stories should be well written, but they can’t be if the author hasn’t mastered how to write. Ways to learn include taking courses, reading books, joining a writing group that has discussions and/or workshops to help a person improve writing skills (there are online courses and conferences, too). Chasing a publishing contract comes at the end of a long journey.
Some people believe that writings for children can be about anything, written any kind of way, not necessarily of high quality. If anything, works for children should be of the highest quality.
2. Write a good story with a fast-paced plot. Write from the child’s perspective. Action is an important part of any story, but action close to the beginning of a children’s book is a must to grab attention and keep it. A plot is important for any story or book, and one should be included in any child’s story/book. A fast-paced plot with action hold a child’s attention.
In other words, a children’s book should have well-developed characters, plot, conflict, dialogue, a climax to the conflict, and resolution – all written for the audience’s perspective and maturity level. The younger the audience, the less likely an author should have sub-plots. The real difference between a story written for children and one written for adults is the interest level, the focus, and the perspective.
I’ve read stories and books written about children, but for adults. A child’s story should be written from the child’s perspective. We need to approach our writing from the reader’s frame of reference. We need to put ourselves into the mind of a child the age of our audience.
3. Use correct grammar, spelling, sentence structure. Too many “writers” believe that they do not have to be concerned about grammar because that’s the editor’s job. Wrong. If a manuscript has grammar, spelling, or verb tense problems, whatever, most times an editor will not read much more than a paragraph at most before discarding the writing. So what do editors consider problem areas? Let’s look at the handout, which includes a sampling of problem areas.
Avoid using all capitals. If a character shouts, show that with words and how they are said.
Then the use of exclamation points is a troublesome area in writing anything. They should be used sparingly and then only in dialogue.
Italics should be used to show a character’s thoughts.
Spelling words correctly and using the correct word are necessary. Computer spell check will find misspelled words but not homophones: their/they’re/there, to/too/two, our/hour, your/you’re, for example.
Since we don’t have time to do a complete English grammar lesson and if you’re not good with grammar and punctuation, use a good online grammar site, find a book about grammar that you find understandable, ask an English teacher. One website that is a source of easy to grasp grammar help is http://www.grammarnow.com/#resources.
4. Active voice and action verbs and show, don’t tell. Using active voice rather than passive was mentioned briefly in the handout, but action verbs need to be used more than state-of-being verbs. The stories need to have lots of action, and using active voice and action verbs helps develop action.
One way that action decreases is when a writer uses expository dialogue. Dialogue is need, in fact required, to write a good story of any kind, but it needs to move the story, the plot along. Expository uses dialogue to “tell” what is happening rather than “showing” what happens. When a character explains his actions or someone else’s actions to the reader, the author is telling, not showing. For example, if the character walks down the street muttering to himself, “I don’t know where I am. I’ve never been in this part of the city before. I think I’ll walk to the corner and turn left. Maybe I’ll see someone to ask for directions. It sure is cold tonight.” That’s expository dialogue.
But if the same scene is written as follows:
Josh looked at the unfamiliar buildings. “Where are all the people?” he asked himself. “Maybe I can find someone around the corner who can help me.” He blew on his hands, trying to warm them. “Mom told me to wear my coat. I hate it when she’s right.”
Using active voice and action verbs also helps an author show rather than tell. When reading scenes in a story, the reader should be able to see the action in his/her mind. The expository example is also an example of telling, or lecturing. The second example shows us what was happening.
Showing is good in writing. Telling, except in few instances, is not good writing.
5. Vocabulary. According to “experts,” a few challenging words in a story is fine. Picture books are often read to a young child, and the reader can explain what a word means. This increases the child’s vocabulary. Also when a child starts reading for himself, a few challenging words, especially if context can help the child understand the meaning.
However, the author should not use vocabulary that is too far above the reader’s understanding.
6. Insert humor, well-defined characters, and avoid clichés. Let’s start with humor. Making a child laugh helps build a pleasant association with reading. Therefore, where possible, a writer should use humor to help a child, especially a reluctant reader, want to read or hear more. Humor in picture books is broad and very visual. Easy readers (and some picture books for ages 6 and up) begin to introduce verbal humor. Chapter books start to work in jokes needing a setup and payoff played out over several scenes. Dialogue, how characters react to one another, or the situation in which a character finds himself may be humorous.
Well-defined characters are a must for any story. Many children want to identify with the characters in books. No mater how the character appears on the outside, the character needs to deal with situations that the reader can relate to or understand. Book characters should be rounded, have multi-dimensional personalities, not be caricatures or one sided. They should have strengths and weaknesses as people really do so that the reader will care about them and want to finish the whole story. To make children in a story realistic, observe children the age of the characters: note how they talk, act, react.
Clichés weaken any type of writing. Using them is lazy writing and avoids showing the story in a way that the reader “sees” what is happening. The brainy boy who can never attract the pretty girl but somehow saves her is a cliché. The idea that a blond is dumb or an athlete is, both are clichés. Use originality to make a story entertaining and characters believable.
7. Story should translate into illustrations. A story for a picture book should be written with paragraphs that translates into illustrations. This idea goes along with the show, don’t tell idea, too. Only paragraphs with action can be “translated” into illustrations.
8. Morals or lessons should not be “preachy.” A writer’s job is to entertain. If a story has a message, the author should tell it through the plot and characters, not by attaching a moral at the end.
9. Stories should be relevant to the age group. The text should be relevant with plot, approach, and language. Books for children don’t necessarily have a little kid in them. In fact, most children prefer characters to be a bit older than they rather than younger. The plot should be one that the reader can understand and follow without someone having to explain.
Children shouldn’t be “talked down to.” If a writer is condescending or patronizing, children will not want to read the story.
We want children to enjoy our books, not be frightened or exposed to ideas too mature for them, not should they be expected to read things that are stupid. Many children find bodily functions funny, but that doesn’t mean such functions make good topics for children’s literature.
10. The story shouldn’t be too long or wordy. Every word, every sentence should be needed for the story. Avoiding wordiness equals tight writing. If a description or narrative doesn’t move the plot along or isn’t necessary to the story, it should be deleted.. Extra words that add nothing to the story makes listening or reading boring.
Also remember, a child’s attention span depends on the child, but most the age of those listening to or reading picture books will not be interested in a long story.
11. Alliteration, meter, and rhyme must be used well or not at all. Many publishers no longer accept children’s books written in poetry or with alliteration. The reason is too many authors do not know how to use them well.
Alliteration tickles children’s ears, and they like the sounds. However, too much of even a good thing is too much.
Many who try to write stories in poetry form convolute wording to “force” a rhyme. The result is confusion for the one listening or reading.
12. Use talking animals carefully. Animal characters must be as well developed as a human character. They should have strengths and weaknesses, three-dimensional with quirks, failings, motivations, and personalities.
Many times a novice writer incorporates animals as characters in a story resulting in clichés: the ugly duckling that turns into a swan; shy creatures that suddenly become bold enough to save the day; apparently moral-filled stories that show it’s okay to be different.
According to Write4Kids.com, using talking animals isn’t all bad. “What’s important is that your animals have completely developed, unique personalities and characteristics.” Children will not be drawn to characters that are stereotypes, even if they are animals.
13. Use serious and/or controversial subjects appropriately. Children are bombarded with serious subjects every day, many times without understanding them. Television and video games, as well as web sites surfed, smoother kids with tragedy, even if death and violence hasn’t touched them personally. A story that introduces topics such as death and handles the subject in a realistic, sensitive way actually help children cope with the realities of the world. Often the plot of a book will open the door for parents to answer questions that disturb their children.
In one of my children’s story, the main character, Louie the Duck, doesn’t understand why Gus Goose has to live with his grandparents. Mrs. Goose tries to explain that hunters were allowed at the lake where Gus and his parents lived. Louie doesn’t completely understand, but he gets the message that hunters did something that left Gus alone. Parents can use this section as a starting point for discussing death with their children.
14. Research material for a children’s book. Imagination gives some leeway in writing fiction; however, a writer needs to literally to have his facts straight when writing about anything factual. False information in a children’s story is as bad, if not worse, than if in a story or book written for adults.
15. Adults should not “carry the day.” Plots need to empower the young protagonist. Of course adults are needed, and their help may be required. However, the solution shouldn’t be an adult making a miraculous save, but the character or characters solving problems.
16. Use a large dose of imagination. An author needs to be able to put herself into the mind of a child.
17. Illustrations. An author, unless a professional quality illustrator or artist, should not try to illustrate his own book. In fact, most publishers require that one of their illustrators do the work unless the author is a professional artist.
Some points have been covered in previous newsletters but have been updated a bit. Other areas haven’t changed but are required to cover the topic more completely. Are these the only things a writer needs to know in order to write a good children’s story or book? No, but the article gives a good foundation and start.
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Works from W.Com
I keep forgetting to check the submitted items for the newsletters. So I decided to search for items to highlight from that file for this issue.
A few children's works from the site:
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Words from Readers
ImagineTryingToLearnToBeSingle 
Vivian, great newsletter. I have taken enormous steps with portraying real people. Personal reviewing by each individual to ensure their satisfaction followed by a signed affidafit. A massive profile of each person in relation of themselves as well from family and friends. A financial package for each person "if" this story should make it bearing in mind such a package cannot be envisioned as of yet. A hope of possible forms of fame with no gaurrantee of course.
This was my solution against any lawsuit.
 Hmm ... you must have more financial backing that I do. No one can sue if what is written can be proven to be true or is a matter of record. If no slander occurs, then no legal action can be taken either. However, I don't write about "real" people, only fictitious ones.
Olivia: it's NaNo-Time
16588  
Hi, Vivian.
This was a useful Newsletter which showed why people should care more about the correctness of the facts in their fiction.
I'm writing fiction based on true events and on existing sets. It's often difficult to get the facts right and a lot of research needs to be done that I don't back away from.
I agree that facts should be used carefully not only to not violate living persons' rights, but also to get your point right.
I'm always thinking about how much facts to insert into the story, because the subject I'm on at the moment offers facts that often appear too fantastic to be true.
Good luck with your writing.
alanscott
Hi, Vivian. I enjoyed this newsletter very much. My favorite authors are ones that write historical mysteries, using real events in the past as a backbone for the fictional mystery. I have also been writing mysteries, with facts and real places, but if I have a question, I consult a map or some other reference to confirm my story. It's frustrating though how many of my favorite authors are historical experts and can easily write mysteries that incorporate so many historical facts as well as the culture and the landmarks of those ancient times, giving their books a clear edge.
P.S. I grew up in Clinton, Oklahoma so I know where Lawton and Woodward are It's at least a 3-hour drive between the two!
That's more than a 3-hour drive by car, and in the book, a wagon was used, or people rode horseback. I definitely know where Clinton is, too, since I have grandsons who play ball against Clinton.
Sharon 
I am writing a fiction novel which is about a fictional occurrence, but in a real town with it's real name, the real names of the streets, etc. I will not be mentioning real names of people. Will I have a problem with that? Thanks so much.
Sharon
As long as you get the names of the streets where they belong in the town, then you shouldn't have any problems.
Zayet 
Very intense and very appreciated.
LazarusAngel
Thank you for some great advice. This was one of the best newsletters I've read.
gymnest
I don't subscribe the For Authors newsletter currently, but was searching through the recent archives for an issue I recently read (not sure which newsletter) and came upon this. Viv -- this is an amazing reference piece! Thank you for writing it and sharing.
revdbob
Good points, Vivian. Merry Christmas!
Thank you, all, for letting me know you found something you could use.
Zeke
I have a curiousity question regarding reality in fictional stories. Is there a risk when you use the name of a real business which may be characterized as less than wonderful?
Zeke
Anytime you write something bad about a person, or a business, which is not proven fact, then you could face legal action.
Cubby 
My husband asked me once, "Why do you need to do research for a fiction story? It's fiction, not fact, right?" I told him I needed to get the facts right in order for it to be believable. He still does not understand why, as long as it's fiction. He's not a writer, of course! But I love him anyway.
~Cubby ")
You might inform him, Cubby, that if you get your facts wrong that you might not sell stories or books. Maybe he can understand the bottom line. 
larryp
Hi Viv
So many writers overlook the value of research. I remember one of my writing mentors said she wrote a story involving alligators. She received a letter that the country of her story's setting had no alligators - crockodiles but no alligators.
Research in very important.
BTW - I grew up in Wichita Falls, Texas. Our school played Lawton, Ok. in athletic events.
Larry
Oklahoma isn't a large state, but the distance between a place in the far northwest and the south west is farther than given. Lawton is close to Texas, but not on the Red River - yet.
bazilbob
Perhaps she changed the real geography for rhetorical effect? Was her fictive geography important to the plot, or would it have worked with the real geography?
All she had to do was look at a map and adjust her distances. She could have used fictitious towns. The names of the towns she used had no bearing on the plot.
esprit
Viv, Good advice on keeping the facts true. I too, am aggravated when reading of a place I know, and finding the topography wrong.
Mistakes can and do happen, but taking time to look at a map is not restrictive.
SkyHawk - Into The Music
Hello, Vivian,
You bring up a great point about factual info used in a fiction story. Along with that, the author is creating his / her own "facts" (characters, settings, events and history) that make up that story's universe. If you don't keep those straight and organized, your story eventually won't work. Case in point: In Tom Clancy's "Executive Orders," reference is made to a particular admiral's Public Affairs Officer (PAO) being a busy man the next day because of a press revelation. A few pages later, that same admiral refers to his PAO as "a pregnant lady; I hope this doesn't put her into premature labor." The same goes if you have the same character being used in several stories. If in one story the character is the son of a doctor, in the next story don't make him the son of a landscaping contractor. You have to keep your facts (even those you the author have created) accurate.
You are so correct.
>>^..^<< Kat
I've toyed with the idea of writing a non-fiction and adding fiction -- filling in where I cannot possibly KNOW the facts. Not a new concept, but where is the line drawn? How much crossing can you do and call it non-fiction?
Non-fiction with 10% or more of fiction (such as dialogue that isn't documented) is usually call faction, a combination of fact and fiction.
StephBee 
Viv, research is so important. I won't hestitate to research online or if I have a book to re-read before writing a story.
Alyce Mitchell
I have been writing historical fiction for a number of years. I always start with a nugget of fact and wrap layer upon layer of fiction around it until you can't tell the fact from fiction. Feels good to see this in print!!
Thanks, everyone for the feedback on the last issue about research in fiction. I enjoyed reading what you had to say, too.
May you have a blessed and happy 2008
Viv
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For Authors: December 26, 2007 Issue [#2109]
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