Monday, September 17, 2018

How to Write a Book for Children – Your First Steps

Want to learn how to write a book for children?  OK, let’s start at square one.
 
You’re fascinated by writing and you’re interested in starting a children’s book career, but you’re not sure what to do first.
 
The key thing is not to overwhelm yourself.  Don’t worry about getting published.  Don’t concern yourself with eBooks, apps or other bits of technology.  And don’t carry forth any preconceived notions about how to write a book for children based on what you read when you were a kid.
 
In other words, keep it simple.  Before you worry about how to write a book, you should get an understanding of the children’s book world.
 
 
 
1. Get a lay of the land.

 
Publisher’s Weekly is the bible of the publishing industry, and they maintain the most widely respected bestseller lists. 
 
Here’s the link to their children’s bestseller lists.
 
Take these lists the bookstore and to your local library.   Read through at least 5 of the top books in each category.  Take notes.
 
Are you seeing any common themes?  Any similarities in writing style?  What kind of words are being used?  What sort of tones are being set?
 
 

2. Make friends with your bookseller and your local children’s librarian.

 
Introduce yourself to the folks who are experts in children’s literature.  Tell them that you’re learning how to write a book for kids and that you’re trying to understand what’s hot now.  From our experience, the vast majority of people who work in bookstores and libraries love to talk about the books they have on their shelves.   Ask about their favorite current books, and why they like them.  Ask about what kids seem to really enjoy right now.  You’ll likely get a master class in children’s literature if you’re polite and mindful of their time.   A thank you note after the fact will help seal what can become a very valuable relationship.
 
 

3. Learn the various categories of children’s books.

 
The world of children’s literature is divided along age lines.  Become familiar with the standard categories and read from each of them.  Before long you’ll find yourself gravitating toward one or two of these.  That’s how you’ll know which age group you’re best suited for.  For a deeper dive into children’s book categories, check out our book genre list.
 
Here are the categories, along with some classic books to check out:
 
 

* Picture books — Often, when people ask how to write a book for children, they really mean “How do I write a picture book?”.  It’s a category that’s remained wildly popular with readers and writers for decades.
 
In its broadest definition, a picture book is a book in which the illustrations play a significant role in telling the story. Under this umbrella are several types of books:
 
1. Baby Books — For infants and young toddlers, these books are generally lullabies, nursery rhymes, fingerplays, or wordless books. The length and format varies with the content.
 
2. Toddler books — Very simple stories for ages 1-3 (under 300 words) familiar to a child’s everyday life, or concept books (teaching colors, numbers, shapes, etc.) Books are short (12 pages is average) and the format can be board books (sturdy paper-over board construction), pop-ups, lift-the flaps or novelty books (books that make sounds, have different textures, etc.) See the “Max” series of board books by Rosemary Wells (Dial).
 
3. Picture books — Traditionally, picture books (also called “picture story books”) are 32-page books for ages 4-8 (this age may vary slightly by publisher). Manuscripts are up to 1500 words, with 1000 words being the average length. Plots are simple (no sub-plots or complicated twists) with one main character who embodies the child’s emotions, concerns and viewpoint. The illustrations (on every page or every other page) play as great a role as the text in telling the story. Occasionally a picture book will exceed 1500 words; this is usually geared toward the upper end of the age spectrum. Picture books cover a wide range of topics and styles. The list of Caldecott Medal winners, available here, is a good place to start your research. Nonfiction in the picture book format can go up to age 10, 48 pages in length, or up to about 2000 words of text.
 
4. Early picture books — A term for picture books geared toward the lower end of the 4-8 age range. These stories are simple and contain under 1000 words. Many early picture books have been reprinted in the board book format, thus widening the audience. The Very Hungry Caterpillar by Eric Carle (Philomel) is an example.
 
 

* Easy readers — Also called “easy-to-read”, these books are for children just starting to read on their own (age 6-8). They have color illustrations on every page like a picture book, but the format is more “grown-up” — smaller trim size, sometimes broken into short chapters. The length varies greatly by publisher; the books can be 32-64 pages long, with 200-1500 words of text, occasionally going up to 2000 words. The stories are told mainly through action and dialogue, in grammatically simple sentences (one idea per sentence). Books average 2-5 sentences per page. See the “Amelia Bedelia” books by Peggy Parish or other “I Can Read” books published by Harper Trophy.
 
 

* Transition books — Sometimes called “early chapter books” for ages 6-9, they bridge the gap between easy readers and chapter books. Written like easy readers in style, transition books are longer (manuscripts are about 30 pages long, broken into 2-3 page chapters), books have a smaller trim size with black-and-white illustrations every few pages. See “The Kids of the Polk Street School” series by Patricia Reilly Giff (Dell) or the “Stepping Stone Books” published by Random House.
 
 

* Chapter books — For ages 7-10, these books are 45-60 manuscript pages long, broken into 3-4 page chapters. Stories are meatier than transition books, though still contain a lot of action. The sentences can be a bit more complex, but paragraphs are still short (2-4 sentences is average). Chapters often end in the middle of a scene to keep the reader turning the pages. Look at the “Herbie Jones” books by Suzy Kline (Puffin) and the “Ramona” books by Beverly Cleary (Morrow).
 
 

* Middle grade — This is the golden age of reading for many children, ages 8-12. Manuscripts suddenly get longer (100-150 pages), stories more complex (sub-plots involving secondary characters are woven through the story) and themes more sophisticated. Kids get hooked on characters at this age, which explains the popularity of series with 20 or more books involving the same cast. Fiction genres range from contemporary to historical to science fiction/fantasy; nonfiction includes biographies, science, history and multicultural topics. Check out some middle grade novels from the list of Newbery Medal winners  to get you started.
 
 

* Young adult — For ages 12 and up, these manuscripts are 130 to about 200 pages long. Plots can be complex with several major characters, though one character should emerge as the focus of the book. Themes should be relevant to the problems and struggles of today’s teenagers, regardless of the genre. The Outsiders by S.E. Hinton defined young adult when it was first published in 1967; the Newbery Medal award list also contains many worthy titles. A newer age category (10-14) is emerging, especially with young adult nonfiction. These books are slightly shorter than the 12 and up category, and topics (both fiction and nonfiction) are appropriate for children who have outgrown middle grade but aren’t yet ready for the themes (fiction) or who aren’t studying the subjects (nonfiction) of high school readers.
 
 

Now you have a good understanding of children’s book genres and what’s happening now.  But to answer the big question — How to Write a Book for children or teens – visit Writing Blueprints.   It’s easier than you have ever imagined!
 
 
 

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Critique Fear: How to Handle Negative Feedback

Have you ever received a critique on your work that pointed out substantial issues?
 
Yikes, it usually feels quite painful, particularly when it pertains to a story or poem that you really poured your heart and soul into.  You want to vanish into the floor like the Wicked Witch of the West does at the end of The Wizard of Oz.  If it happens in a writing class, you feel even worse.  Isn’t it embarrassing to have your work critiqued in front of other people?
 
Yes, it can be very painful.  But that’s the reality of being a writer.  You can’t get far without feedback.  Critical feedback can happen at any point in the writing process – from when you are coming up with an idea to when the book is finally out there.  Someone can critique and analyze your work in the most nasty way possible – and there isn’t too much you can do about it.  On the other hand, readers could provide invaluable advice which could help you transform your story into something great.
 
So, how do you handle critical feedback of your work? Obviously it’s painful, there are some things you can do to help minimize the pain and maximize the benefit of constructive criticism.
 
Listen to the feedback.  Does it sound like it contains and inkling of truth? If the feedback is rational, constructive, and detailed, it may just be helpful in the long run.  It’s painful to listen to it right now, but what matters is that you learn from it.
 
Consider the source.  Who is giving this feedback?  Is it a close friend?  A fellow writer?  Someone who cares about you and your work?  Most likely they are trying to help you improve your manuscript, even if the critique is unsolicited.  But if it is someone who may not have your best intent at heart, consider the source.  What has this person written and published?  Is it someone who’s written in the same book categories? (For example, someone who typically writes narrative nonfiction is unlikely to be an expert at writing fantasy).   It is very easy to critique someone’s work, and most people don’t realize how difficult it is to write until they hit the keyboard.
 
Consider the credibility of the critique.  Does the person offer vague comments?  Or something tangible that relates to your work? Once I was attending a class in which we were assigned to write poetry about a Halloween topic.  A writer wrote a very interesting poem about a ghost, to which one of the girls in the group said, “I don’t like ghosts. I don’t want to read about ghosts.” Naturally her comments centered around this idea and were not too useful.  This girl had a very distinct bias in her critique, and wasn’t able to read the poem with an open mind.
 
Step away from the critique for a while.  Write down the person’s thoughts, and look at them when you feel calm and collected.  It is important to be polite and respectful, no matter what someone says to you.  You may realize, down the road, that these comments are very helpful.  Or you may discover they are not.  But you probably want to step away and clear your mind before doing anything.
 
Don’t react emotionally. It’s natural to jump to the defense of our work, but sometimes the best approach is to listen quietly.  You don’t want to create a bad relationship with this person, or burn a bridge that can never be fixed.  Just be calm and professional about it.  The best approach is to thank the person for his comment, no matter how painful it is to listen to. Many times when someone makes a comment on your work, they are so focused on what doesn’t work that they don’t see how good the rest of it is. Don’t get discouraged, and don’t get down on yourself.
 
Look at the criticism when you are in a calm state of mind.  When you step away from your manuscript for a while, you can return with a fresh perspective.  You may begin to see that every word isn’t perfect, and that some of the comments that your readers have made are very helpful.
 
Use what is useful, and discard what doesn’t make sense.  Not everything that readers recommend will improve your manuscript.  And some of what they say has quite a bit of value.  Sometimes it is helpful if you receive their comments, write them down carefully, and use them as a later reference.  If everyone is making a suggestion to work on developing a less confusing plot, you may want to consider it.  But if just one person is making eccentric comments, consider the source and if it really is useful.  Remember, you don’t have to make these changes; you just have to think about it.
 
Take it with a grain of salt.  Sometimes people make very thoughtful comments, but other times people are happy to critique a work without thinking deeply.  It is important to read over the collected comments, and to try to find the threads that connect these thoughts.  You may discover certain themes keep coming up, and you may want to think about looking more carefully at parts of your manuscript.  In any case, it is important to realize that revision is part of the writing process.
 
Revise, revise, revise.  When you go away with constructive criticism on your mind, you can go a positive direction— toward overall improvement.  Or you can go in a negative direction, toward discouragement and despair.  You can persist toward excellence, or you can falter and fail.  You have to learn to take a few punches in order to be a good writer, and to be a great writer you need to be able to cull the good criticism from the bad.  In any case, you will quickly discover that a manuscript is never finished; to paraphrase Langston Hughes, it is merely abandoned.
 


 
Suzanna Henshon is a published author and longtime contributor to Children’s Book Insider
 
 

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