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!
 
 
 

The post How to Write a Book for Children – Your First Steps appeared first on   WriteForKids - Writing Children's Books.

It’s OK If Your Readers Cry

If you’ve ever feared that your manuscript is too “real” for children, or if you feel the urge to write about a sanitized reality in order to protect young readers, remember this: kids learn how to navigate the world through their books. And if they are experiencing pain, seeing that pain acknowledged in a story helps them know they are not alone. But you should really hear this from two of the greatest children’s book writers of our time. Matt de la Pena, in his essay “Why We Shouldn’t Shield Children From Darkness” for Time magazine, and Kate DiCamillo’s response, “Why Children’s Books Should Be a Little Sad“, beautifully articulate how a little sadness in a children’s book teaches readers that they can, indeed, bear the burdens life may give them.

The post It’s OK If Your Readers Cry appeared first on   WriteForKids - Writing Children's Books.

35 Years a Writer, 35 Lessons Learned

by Jane McBride

 

 

 
 
(Note:  This article is from the new January 2018 edition of Children’s Book Insider, the Children’s Writing Monthly.  To learn more about this essential tool for all kidlit writers, click here.)

 
 
 

Thirty-five years have passed since my first writing was published. Thirty-five years in the crazy business of writing have taught me a number of things. Thirty-five years have also taught me that I have much still to learn. But today we’ll start with what I’ve learned thus far. My hope is this list will shorten your own learning curve.

 

1. Writing is a business. Treat it as such.

 

2. Treat yourself as a business person. If you don’t respect yourself as both a writer and a business person, how can you expect others to treat you that way?

 

3. Keep records. Keep very, very good records. You never know when you’ll be audited, as my husband and I were five years ago.

 

4. Keep on top of your taxes. Do you need to make quarterly tax payments? Penalties are no fun.

 

5. Keep track of your expenses. Do you think that it’s too much trouble to record your mileage to a meeting or postage costs? Think again. Every penny counts.

 

6. Invest in yourself. If you can swing it, attend writers’ conferences. Subscribe to industry periodicals such as CBI, The Writer, Children’s Bookshelf (twice-weekly newsletter electronic newsletter from Publishers Weekly), etc.

 

7. Invest in good equipment. You wouldn’t try to cook professionally without the right tools. The same applies to writing.

 

8. Network. Even if you are an introvert, as many writers are, learn to network. You needn’t become a social butterfly at conferences, but don’t spend all of your time in your room. Engage others in conversation.

 

9. Have a support group. Writing is a solitary business. One of the best things you can do for yourself and for your career is to find a group of like-minded people. If you belong to a professional organization, see if there is a chapter in your area. If there isn’t, consider starting one. Or join an online group.

 

10. Find a mentor. A mentor can guide you in your writing, offer critiques, and tell you when you’ve gone off track.

 

11. Be a mentor. I’m a firm believer in giving back. Mentor a less experienced member of your writers group. Mentor a young writer at your local high school. You’ll learn much in teaching others.

 

12. Work to first learn and then improve your craft. Do you expect a surgeon to decide he wants to practice medicine and then start operating the next day? Of course not. You want a surgeon to have the necessary training and skills before he performs an operation. Then why do we expect to be skilled writers without learning how to write? Take classes. Attend workshops and conferences. Above all, practice your craft and write.

 

13. Don’t take the first offer that comes your way. In our eagerness to sell a book, especially a first book, it’s tempting to take the first offer, even a bad one.

 

14. Be wary of scams that pop up in the industry such as book doctors and others who claim they can fast-track your career. Some are legitimate; some are not. Always do your research before paying anyone to edit your manuscript or help you self-publish.

 

15. Remember that no agent is better than a bad agent. Don’t be in such a hurry to sign with an agent. Do your due diligence and check out any agent or agency before you sign.

 

16. Understand that a contract with an agent does not mean you are married to him or her, but that you will be “bound together” for the lifetime of any book he or she sells for you.

 

17. Don’t burn your bridges. Leave any agency or publishing house with good feelings on both sides. Any bad-mouthing about editors or agents on your part can and probably will come back to bite you.

 

18. Keep in touch. When an editor leaves your publishing house, it pays to stay in touch. The same goes for agents and other industry professionals.

 

19. Volunteer. Volunteer at your writers’ chapter, at conferences. Volunteer at bookfairs and the library. You will not only be giving back, you will also be making valuable contacts.

 

20. Establish working hours. When you’re writing, you’re working. Let your family and friends know that.

 

21. Don’t be afraid to say no. A few years ago, I received an offer to buy a book from a new publishing company. Something felt fishy about the offer, and I turned it down. In the end, I’m glad I did. The company proved not to be reputable.

 

22. Don’t be afraid to say no to family and friends. This goes back to treating yourself as a professional and expecting others to do the same. It’s tempting for others, when they learn that you work from home, to say, “Since you’re not working, will you ‘Let the repairman in,’ ‘Watch my sick child,’ Bake seven dozen cupcakes for the school bake sale,’ etc.” Smile politely and say, “I’m sorry, but I am working.”

 

23. Give yourself a break now and then. It’s wonderful to write every day (or whatever your schedule is), but it’s okay to take a break once in a while. You need to experience life to write about it.

 

24. Don’t beat yourself up when you can’t make your word count. Double down the next day. The important thing is that you keep writing.

 

25. Treat rejection as part of the learning curve. Rejections are a way of life for many writers, including me. After selling 36 books and hundreds of stories and articles, I still receive rejections with depressing frequency.

 

26. Respect your editor and/or agent. Don’t pester them with constant calls, texts, or emails. It’s okay to stay in contact, just don’t overwhelm them.

 

27. Meet your deadlines. Publishing houses operate on strict deadlines. If you don’t meet yours, you may put a crimp in the entire schedule.

 

28. If you can’t meet a deadline, let your editor know as soon as possible. Editors realize that emergencies happen. Give yours a heads-up if it becomes apparent that you can’t meet a deadline.

 

29. Be prepared to have financial dry spells. What happens if your last book doesn’t sell well? Can you still make the mortgage and buy groceries? (See # 30.)

 

30. Think twice before quitting your day job. Royalties can be delayed and/or be spotty. It helps to have the cushion of a regular paycheck to fall back on.

 

31. Know how many books you can reasonably expect to produce in a year. Set a realistic goal and then do your best to meet it.

 

32. Don’t be so quick to send off a book. Revise and polish, revise and polish again.

 

33. Stay current. Know what’s happening in your genre. Keep up with the latest trends. You don’t have to write to them, but you should know what is going on.

 

34. Find an outlet outside of writing. Writing is not just a business, but a form of expression as well. It helps to have another outlet to replenish your well of creativity.

 

35. Keep learning. A woman in my writing chapter expressed surprise when I mentioned that I had just returned from a writers’ conference. “With all the books you’ve published, I’m amazed that you that you still attend conferences,” she said. I replied, “I hope I never feel that I don’t need to learn something.”

 

 

Well, there you have it—35 lessons learned, many of them the hard way!

 

---

 

Jane McBride is the author of 36 novels, numerous short stories and articles including pieces in 16 Chicken Soup for the Soul anthologies . Follow her writing blog at http://ift.tt/2EqH3z5

 

 
 

Writing for Children & Teens: Simple Steps to Understand Your Readers

by Jane Choate

 

In various writers’ groups over the years, I have heard a number of writers who say, usually with a certain degree of self-righteousness, “I don’t write for others.  I write for myself.”  That’s great.  For the rest of us, though, those who have struggled to get published and who are struggling to stay published, it doesn’t work.  We write for ourselves, yes, but we write for others as well.  We want our words to have an audience.  Just as a painter or a sculptor wants his works to be viewed and composers want their music to be heard, writers want their work to be read.  For it is in the reading that the work comes alive.

 

But anyone who writes for children and teens must ultimately answer a key question — just who is that audience?  Are we writing picture books?  In that case, the audience is the toddler and pre-school set; it is also the parents of those children as they are likely the ones to be reading the books to their children.  Are we writing for early readers?  For the ‘tween set?  For young adults?  Knowing your audience is key.  Knowing their tastes, their needs, their wants, their expectations is vital in penning the kind of stories that will touch their hearts and minds.

 

If you aren’t certain who your audience is, try one or more of the following steps:

 

STEP 1:  Know yourself.  If you don’t know yourself, how are you going to know your audience?  Know your comfort zone.  Know what makes you uncomfortable.  If you aren’t comfortable with angst-filled stories, you may want to steer clear of writing coming-of-age books.  Know your likes and dislikes.  Know your emotional and spiritual self.  If faith is important to you, you may find that you want to write for the growing Christian market. 

 

ACTION:  Ask yourself some questions.  Do you enjoy being around babies and toddlers and early grade-schoolers, but older children and teens send you running in the opposite direction?  If so, don’t be afraid to admit it.  Own that and embrace the fact that you are probably most comfortable writing for the preschool and early reader set.  Likewise, if you enjoy the humor and sometimes angst of older children, such as ‘tweens and young teenagers, you will want to focus your efforts there.  Or maybe you want to create stories for the YA market, to touch the lives of those teens who are on the cusp of adulthood.

 

 

STEP 2:  Familiarize yourself with what’s being written now for the age group for which you are aiming your work.  It’s wonderful to read the classics such as Laura Ingalls Wilder’s Little House series, Mark Twain’s Tom Sawyer, and Louisa May Alcott’s Little Women etc.,  but it’s imperative that you know what publishers are printing now

 

ACTION:  Read.  Read widely in your targeted age group.   Go to your library—a librarian can be a writer’s best friend—and ask for a recommended reading list.  If you have children or grandchildren in this age group, you have a leg up, as you are already familiar with what kids are reading.  Read books in other age groups as well.  You want to know the differences between a board book and a book penned for the almost-reader and to understand what sets a middle grade book apart from one written for the ‘tween age group.  Pay attention to vocabulary.  Books for very little children repeat words over and over.   For older children, the vocabulary is more varied.  Read pages aloud and listen to the rhythm.  This is particularly important in writing for small children who love repetition, not just of words but of sounds and sentence structure.

 

ACTION:  Subscribe to industry periodicals such as Children’s Book Insider.  Treat yourself to a current copy of Writer’s Market.  Learn what publishers are looking for in the varied children’s and teen markets.  Learn what agents are representing the kind of books you want to write and what their targeted audience is.

 

ACTION:  Go to places where you can find your audience and hang out with them.  For example, picture book writers can volunteer in a preschool or kindergarten.  Teachers LOVE volunteers.  Don’t be afraid to pick the brain of a teacher.  Teachers know what kids like to read and what they avoid like the plague.  If you’re writing stories for the middle-grade group, go to a third or fourth grade classroom.   If you belong to a church, offer to teach Sunday School.  If you don’t have children or grandchildren of your own, volunteer to tend the children of a busy young mother.  Not only will you learn more about children, you’ll be doing a tremendous service for a woman who works harder than any brick-layer! 

 

Young adult writers need to be online where teens are hanging out (teen book bloggers are a good place to start).  Watch current TV shows for different age groups, especially MG (middle grade) and YA.   Pay attention to the commercials that are sponsoring the shows.  You can learn a great deal from what products are being advertised and how they are marketed.  Go to movies.  Find out who the current super heroes are and who the heartthrobs are.

 

For picking up on teen language and behavior, there’s no better place than a mall where kids roam the stores in packs.  Settle in at a food court and listen.  Be prepared to take notes, but don’t spend all your time scribbling in a notebook.  Absorb the nuances of interaction between the teens.   Identify the leader and the followers and watch the “pecking order” in action.   Note what the kids are wearing.  Fashion is a spot-on commentator.  Each generation has its own style.  The ripped jeans and cold shoulder tops of today are the poodle skirt and twin set of the ‘50s   

 

 

STEP 3: Fit in.  No, I’m not suggesting you try to join a clique of middle-schoolers.  (As if they’d let you in!)   Once you’ve established your audience, learn what is appropriate for the different age groups.  You wouldn’t pen a gritty story of a child watching his parents’ marriage dissolve into a bitter divorce for a picture book, but you might write such a story for a ‘tween audience.  What is right for a YA novel won’t be right for a middle grade one.  Note:  I’m not saying that you can’t tackle tough subjects for younger children, only that your tone, vocabulary, and other aspects will be entirely different than they would be for an older audience.  

 

ACTION:  Read again.  Read this time with an eye and ear to the subtleties in language and style and tone and subject matter in books for various age groups.  At what age can you talk about sexual activity and LGBT issues?  What about cutting and other forms of self-mutilation and eating disorders?  When is it okay to use curse words?  Or is it ever okay? (This goes back to knowing yourself and what you’re comfortable with.  For myself, I couldn’t use offensive language in writing for children of any age.)

 

 

Learning to know your audience is like any other writing skill, such as crafting characters, strengthening conflict, and writing sparkling dialogue  You become better with practice.  The best way to do that is to write and to keep writing. 

 

 

 

 

 

 

The post Writing for Children & Teens: Simple Steps to Understand Your Readers appeared first on   WriteForKids - Writing Children's Books.

A Peek Inside the Workings of an Independent Bookstore

interview by Sharon Blumberg

 

 

Nathan Montoya’s route to owning the charming Village Lights Bookstore in Madison, Indiana was anything but direct. After an interesting life that included driving a taxicab in New York City, working as a manager at the renowned Cafe Figaro in Greenwich Village, performing with the Martha Graham Ensemble and the Pearl Lang Dance Company, and then serving as ballet and modern dance master and resident choreographer for the dance companies of opera houses Germany, Nathan and his wife returned to the States and eventually settled into the role of bouquiniste, a dealer of secondhand books. He specializes in world religions, science fiction, poetry, literary fiction (for adults and children), and antiquarian tomes. He currently serves on the Board of Directors of the Great Lakes Independent Booksellers Association and the Award Panel for the Indiana Authors Award.

 

Village Lights Bookstore prides itself on having the ambiance of an independent store while offering the services of much larger establishments. Customers can buy both new and used books, and can order print, audio and ebooks through the store’s website, with 99 cent shipping on phyical products (or free in-store pick-up). The store also features antiquarian and rare book valuation, bookbinding and repair, poetry readings, author events, an art gallery, an 1897 Steinway grand piano, live music events, courtesy coffee, comfy chairs, free Wi-Fi, and three bookstore cats. In short, the kind of place where every author wants to spend a long afternoon.

 

If you’re an author hoping to set up an event with an independent bookseller, or an aspiring writer who is curious about what the young customers of independent stores are buying, Nathan Montoya offers some tips and advice below:

 

Sharon Blumberg: What kinds of books are popular with kids right now at Village Lights Bookstore?

 

Nathan Montoya: Children often come in looking for Scholastic books like the ones featured in school book fairs. Middle graders are reading all of the Harry Potter book series, the Warriors books by Erin Hunter, and books by Kate DiCamillo. Skila Brown’s novels in verse: Caminar, The Donner Party, and To Stay Alive. The graphic novels by Raina Telgemeier are also popular. These books are: Drama, Ghosts, Sisters, and Smile.

 

In young adults books, The Absolute Diary of a Part-Time Indian by Sherman Alexie is popular, as well as Lois Lowry’s five books in the series of The Giver, Mike Mullin’s Ashfall Trilogy, the Divergent and Hunger Games series, as well as classic science fiction by Ursula K. LeGuin and the Tripod trilogy by John Christoper. Dystopian books that have a message for teens sell well, such as the three-book XVI by Julia Carr, set in a future Chicago. Her stories which expose sexism and gender bias.

 

SB: Why do you think these books are selling right now?

 

NM: I would say because of the high adventure and inner messages they convey with young adults. The classics are always popular with children, because children have a high desire to read them along with enjoying the illustrations.

 

SB: Are there any types of books or subject matters that you wish authors would write more about?

 

NM: I like to stock books that nurture self-confidence and foster respect and compassion for one another. In younger readers, I like books that offer a sense of humor while not being preachy. Also, books that deal with issues of diversity are great. A fine example of this is Heather Has Two Mommies by Leslea Newman.

 

SB: Do you carry self-published books from local authors?

 

NM: I don’t accept self-published books by CreateSpace because they are part of Amazon, a big competitor of ours. But regarding other self-published books, we will accept wholesale distributors such as Baker & Taylor and IngramSpark.

 

Also, we will not accept books that convey the message of hate speech in any form.

 

SB: Do you have any advice for authors who are setting up book signings or live events in independent book stores?

 

NM: We’d like to know if the authors have a website. The authors need to do their research to see if our store is a good fit for them, and see what kinds of books we want to sell. There is also a form they can download on our site for carrying their books on consignment.

 

SB: What is the best way for an author to approach you for either setting up a live event or carrying their books in your stores? Do you prefer a one-sheet with book information, a press release, a review copy, etc.?

 

NM: They should use the form on our website. We are a mom and pop store with few workers, so we don’t accept review copies. For an author event, a one-sheet is fine. We don’t generally offer author events for self-published authors, but we do offer a mini author fair for self-published authors.

 

For author events we require a headshot of the author, a digital press release, and a one-sheet PDF.

 

 

So the next time you are passing through Madison, Indiana, stop in at Nathan’s cozy and quaint Village Lights Bookstore. You will encounter small-town hospitality and the ultimate book lover’s paradise!

 

Sharon Olivia Blumberg is a recently retired school teacher, having taught Spanish and English for over 20 years. In addition, she is a writer and voiceover artist. She is a contributing author to My First Year in the Classroom, edited and compiled by Stephen D. Rogers, Kids Imagination Train, Guardian Angel Ezine for Kids, Foster Focus, and Voya Magazine. Visit her website at: http://ift.tt/2pur6ni

The post A Peek Inside the Workings of an Independent Bookstore appeared first on   WriteForKids - Writing Children's Books.

Narrative Nonfiction: Making Facts into a Story

By Guest Author

by Natasha Wing

 

When editors say they are looking for narrative nonfiction, what does that mean?

 

Narrative nonfiction is creative nonfiction yet while both are fact-based, narrative nonfiction is also about storytelling, not just presenting facts in a clever way. It gives people, places and events meaning and emotional content – without making anything up. If you make up dialog or alter facts, then it becomes fiction.

 

The primary goal of the narrative nonfiction writer is to communicate information, like a reporter, but to shape it in a way that reads like fiction.

 

So how do you do that?

 

– Set the tone with opening images or word usage or even a juicy quote. My book, An Eye for Color, starts out: “Josef Albers saw art in the simplest things.” I wanted to set the tone that this story was about art, but simple art that kids could relate to. As the story unfolded, I connected to that idea of keeping it simple.

 

– Voice. Avoid the dull, droning textbook voice that makes you feel like you’re reading a reference book. Perky, fast-paced and humorous works better to capture your reader right from the start.

 

– Don’t give away the point you’re trying to make, build up to it. Use obstacles and rising stakes. Ask yourself, if this thing doesn’t happen, then what?

 

– Use poetic language rather than dry statements. Using my new biography, When Jackie Saved Grand Central, as an example, I wanted to say that Jackie was mad and she wanted to join the protestors so I wrote: “Like a powerful locomotive, Jackie led the charge to preserve the landmark she and New York City loved.” This language ties into the train theme.

 

– Use active verbs! Trim out phrases like: decided to. For example, She decided to build another model. Change to: She built another model.

 

– Build your world or era. But do it quickly! Don’t spend a lot of opening text on setting up the year, the location, or the era. Here’s how the Jackie story starts out: “When Jackie became First Lady of the United States in 1961, she moved into the White House with President John F. Kennedy and their children.” Nuff said. I didn’t have to tell you when Jackie was born, or how many kids she had and their names, or what number president John Kennedy was, or that the White House was in Washington, D.C.

 

– Find tension. Does your main character have a competitor who is trying to beat your guy to the patent office? Is the event something that could change the world? Is the main character full of doubt which could sabotage everything?

 

– Find “aha” moments. Did your character have a breakthrough on her invention? Did the artist discover something he’d never seen before in his paintings that made him follow a new path? Did your character get an idea while observing ladybugs that helped solve his problem?

 

– Is there an emotional journey for the main character? How does she succeed or grow? This works great for inventor stories. Why did the person want to invent something in the first place? Did he have a sick mother? Was a machine too cumbersome? During his journey did he ever want to give up? Did he have a breakthrough, or a break down? Did he get the recognition he wanted, or choose to live alone in a cabin instead?

 

– Is there a kid-friendly or universal theme? Historic preservation is a tough theme to sell to younger kids, so I had to make it about saving buildings people love to use rather than pontificating about the value of restoring the architectural integrity of a landmark. See the difference?

 

– Make us care about the person or object or invention. In my Jackie book, the biggest breakthrough in my revisions came when I started looking at the object that Jackie was trying to save – Grand Central Terminal – as something people cared about. Rather than just describing the building, I showed examples where people attended dances there, where politicians gave speeches, and friends met for lunch. That way the reader could have an emotional attachment to the building and therefore care if it was going to be destroyed or not.

 

– Limit use of facts. This sounds odd when you’re writing nonfiction, but too many facts can drag down the poetic flow of the text. Choose the facts that support your theme or opinion about the topic. Interesting nuggets that are visual or help children relate to the topic are keepers.

 

And don’t pile them up in one giant paragraph. Sprinkle them throughout the story, and use quotes to break up stretches of text. Visually, quotes give the eye something different to see, therefore re-investing the reader in your story.

 

If you still think some facts are pertinent, put them in the endnotes instead.

 

When you’re writing narrative nonfiction, always keep in mind, is it kid friendly and am I telling a story? Then weave those facts into your story so that readers will learn while also being entertained.

 

Before you start writing keep these things in mind:

 

How can you connect kids to your topic? For example, how does an invention affect their lives today?

 

Does your story have an unusual slant?

 

Is your biography of someone not heard about or someone kids should know about?

 

Check to see what other books have been done on that topic and how the author treated the telling and incorporated the information. Check out their sidebars and endnotes, too.

 

Is yours different and fresh?

 

Has new information come out on that topic to warrant a new book? Such as when a new president is elected. Or a new technology invented. How does this new bit of information make what’s out there obsolete – the topic could use a freshening up.

 

Has the publisher you work with already published that topic? Then don’t submit to them.

 

Did you publish a chapter book on a topic that would make a good picture book? If so, choose one through line and simplify and use poetic language. Choose one thing the person did and focus on that.

 

Is there an anniversary coming up in 4-5 years that you can hook your topic to? Start gathering research now.

 

Make sure you document where every fact is from so you can easily find it when you need to revise with an editor, or when you need proof where you got a quote.

 

Keep a list of experts you contacted so they can vet your manuscript before you submit it.

 

Natasha Wing is a best-selling author who has been writing for 25 years. She is best known for her Night Before series, but also has written several narrative nonfictions. When Jackie Saved Grand Central: The True Story of Jacqueline Kennedy’s Fight for an American Icon (HMH Books for Young Readers) received starred reviews from Booklist and Kirkus.

This is a post from writeforkids.org. Read the original post: Narrative Nonfiction: Making Facts into a Story

Stand Out From the Crowd When You Submit

By Guest Author

by Suzanna Henshon, PhD

 

 

Many people want to be writers. But few people put the time in to write professional level manuscripts.  So, what can you do to stand out from the crowd in a positive way?  Can you get your work noticed in the slush pile?

 

 

Everyone thinks it’s easy to dash off a story.  But the truth is that writing takes work; Jane Yolen defines this work, in a general sense, as sitting in a chair and typing until a story is done.  Malcolm Gladwell’s The Outliers uses the idea of the 10,000 hour rule to attain expertise in a field.  While you may not have 10,000 hours to spend writing, you can stand out from the crowd if you work hard.  Here are some tips.

  

 

Be professional.  Most writers commit amateurish errors, myself included.  We’ve all sent out query letters with misspellings, or manuscripts that have not chance of fitting an editor’s current need.  Some writers send far too many query letters, rather than just circulating their best ideas.  Other writers even misspell editors’ names.  If you proofread carefully, you can avoid these issues.  And if you’re not sure how to spell an editor’s name, check the publisher’s website or the editor’s blog or Facebook page. 

  

 

Know your market.  Do a bit of research to see if your idea is truly geared to the market you want to reach. Read many recently-published books for the same age group for which you’re writing so you can objectively judge if your approach is age-appropriate. Are you trying to teach an abstract lesson to the picture book crowd? By reading lots of picture books, you’ll learn that you need to hide the lesson in an entertaining story and make it concrete and visual. Are the characters in your young adult novel making only good choices? Teens don’t have the life experience to foresee the negative outcomes to all their decisions. Allow your character to learn from their mistakes.

 

 

Show commitment to your writing.  Just like you would show up for a job, you need to show up at your writing desk at a specified time.  Commit to writing the very best story you can write before you send it out. Lastly, believe in your story before you submit it to publishers.  If you aren’t enthusiastic, how can you expect others to fall in love with your piece?

  

 

Write the best piece you can.  Many times writers dash off stories quickly, and spend little time revising them.  Don’t you owe an editor your best piece, rather than a first draft?  Revising a piece takes far longer than writing it originally did.  So understand that 90% of writing is revision, and commit to time it takes to rewrite, revise and polish your manuscript to the best of your ability. You only get one shot at submitting this work to each editor, so make it count.

  

 

Get to know your editors.  As you start researching editors, you’ll get a sense of their taste, and the projects they work on.  You can start to understand their mindset when you read their work closely.  Once you understand someone’s editorial taste, you’ll be far more successful in writing projects that meet their company’s niche as well.

  

 

Show some interest in publishers.  Read a publisher’s catalog.  Visit their website.  Read their books carefully.  As you research, you’ll develop a better appreciation for their niche in the marketplace.  If you submit carefully, you will be far more successful than if you do mass mailings.

  

 

Reveal yourself in query letters.  In your query letter, it is important to tell the editor about your story and why you are sending it.  But you also want to tell a little bit about yourself.  Are you a teacher?  A freelance writer? A stay-at-home parent?  No matter what your background is, be proud of it.  You’ll want to share a few details about why you are qualified to write this piece.

  

 

Personalize your query.  Your query letter isn’t just a sales pitch; it is a wonderful opportunity to show an editor you have some interest in her work.  It is a great chance to show that you have carefully thought through why your story is a good match for a publishing house.

  

 

While there’s no guarantee of success, doing these simple things will make you stand out from the crowd. And that may be all it takes to nudge an editor into reading your entire manuscript and falling in love with it.

 

 

Dr. Suzanna E. Henshon teaches full-time at Florida Gulf Coast University and is the author of several young adult and middle grade books, and two collections of writing exercises. Her newest book, Andy Lightfoot and the Time Warp, is available for the Kindle on Amazon.

 

This is a post from writeforkids.org. Read the original post: Stand Out From the Crowd When You Submit

What’s YOUR Writing Profile? Find Out Now!

By Jon Bard

 

No two writers are created alike.  Some of us are masters of planning and organization.  Others among us live by improvisation and spontaneity.  And still others work somewhere in the middle.

 

You probably heard of writers being described as “plotters” or “pantsters” (as in “seat of their pants”).   And perhaps you’ve even identified as one or the other.  But it’s never really gone deeper than that.

 

Until now.

 

We’ve just created something that will help you truly understand how you operate as a writer, lay out the dangers you might face as a result, highlight the special opportunities you have and provide specific strategic steps to make your writing career more fun, more successful and, hopefully, more lucrative.

 

 

 

 

Introducing the Writing Profile.  It’s a fun, brief quiz that will pinpoint exactly the kind of writer you are and it comes with a  personalized report that will help you adjust, adapt and thrive.

 

And yep, it’s completely free.  

 

It’s our gift to the writing community.  So please, after you take it and see how cool it is, feel free to share it far and wide.

 

Here’s the link:  

 

 http://ift.tt/2pD6k5v

 

 

After you get your report, come back and leave a message in the comments section.  Tell us if you’re a Visionary, Mapmaker or Pathfinder, and what you learned about yourself.

 

Have fun!

 

 

This is a post from writeforkids.org. Read the original post: What’s YOUR Writing Profile? Find Out Now!

Visiting Book Fairs and Conference Exhibit Halls —Why, Where, and How?

By Guest Author

by Lionel Bender

 

As a regular visitor to many major conference exhibit halls, book fairs, and publisher exhibits over some 28 years, I firmly believe that these events provide unique and unequaled opportunities for children’s book authors and illustrators to learn about their industry, the marketplace, and to network with publishers, freelancers, and others on whom they depend for successful careers. However, I am aware that many authors, editors, and illustrators don’t realize they can attend these events; believe that, if they have an agent, they don’t need to attend; are dissuaded from going; or believe the investment of time and money is not worthwhile.

 

In the States, there are national and regional book fairs and exhibitions held throughout the year organized by the American Library Association (ALA), National Science Teachers Association (NSTA), National Council for Social Studies (NCSS), National Council for Teachers of English (NCTA), American Association of School Librarians (AASL), International Literacy Association (ILA), education boards, and others. There is also Book Expo. Internationally, there are major book fairs in Bologna, London, Frankfurt, and Beijing. Attending the major book fairs may be costly for travel and accommodation, but local or regional fairs are easily accessed and affordable—entrance fees for the exhibit halls are usually less than $50. [Some publishers and publishing people do attend book festivals, but few if any of the following opportunities arise at such events.]

 

At book fairs and in conference exhibit halls you can achieve all or some of the following:

 

1. see what publishers have produced and, in many cases, are about to publish;

 

2. discover the most likely publishers for your work;

 

3. identify the editors or art editors you need to approach and get their contact details;

 

4. determine publishers’ procedures for submissions or applications;

 

5. collect publishers’ catalogs and sample books or have them sent to you or your school;

 

6. identify non-traditional outlets for your work;

 

7. attend author signing sessions and get an insight into book marketing and social networking;

 

8. sense new trends and get ideas for new projects by reviewing what others are doing;

 

9. see some digital developments on display and test them out;

 

10. attend workshops, presentations, and panels given by industry leaders;

 

11. network with other authors, illustrators, and freelancers and share information and experiences.

 

Do bear in mind that you can’t just turn up and expect success. You need to prepare in advance; have a plan of action on the day; and follow up after each fair. Also, you need to respect and acknowledge the business of fairs, and be friendly, polite … but a little pushy and firm! If you decide to visit a book fair, do find out about the format and focus of the fair before you go, and do seek as much advice as you can about how to try and achieve the maximum benefits. I find each and every book fair rewarding and, in one way or another, well worth the time, effort, and expense.

 

For details of key conference exhibitions and book fairs see the following websites:

http://ift.tt/ldWAbr

http://ift.tt/2jPBWPe

http://ift.tt/JwzE4C

http://www.ala.org

http://www.nsta.org

http://ift.tt/2jPu1Bd

http://www.ncte.org

http://ift.tt/JwzE4C

 

Lionel Bender is an author, editor, and director of book packager Bender Richardson White (see: www.brw.co.uk), which produces children’s illustrated nonfiction. His company offers an in-depth guide on maximizing opportunities at book fairs and conference exhibit halls. For details to purchase this contact Lionel at lionel@brw.co.uk

This is a post from writeforkids.org. Read the original post: Visiting Book Fairs and Conference Exhibit Halls —Why, Where, and How?

Simple Advice for First-Time Self-Published Authors

By Guest Author

by R.F. Kristy

 

The intelligence and allure of cats has always enchanted me. Writing the Inca Cat Series arose out of the blue. I had never dreamed of self-publishing stories for children. My specialty, due to my work with the United Nations, concentrated on reports of a technical nature — a world much removed from the milieu of children’s books. However, I love reading detective stories. So when I started writing about my cats Inca and Cara, the ideas for mystery-themed adventures started flowing.

 

The Cats Who Crossed Over From Paris, Book 1 of the series, came to me from reading rather than from living or observation. Christmas Cats followed and the third, Cats in Provence is currently bubbling. I don’t think we choose our genre, I think that a genre chooses us. Or should I say, my love of detective stories and living with my cats Inca and Cara made the choice inevitable.

 

Despite my new-found passion for writing the Inca Cat Series, I found out that as a newcomer to this competitive arena, having an appetite for writing alone is not sufficient. In my enthusiasm to get my thoughts on paper, I made several errors.

 

While I reviewed the internet and read several articles about the positives and negatives and compared the various self-publishing sources such as BookBaby, CreateSpace and Ingram Sparks. What I did not pay much attention to, to my cost, were the technical specifications required for illustrations in ebooks and paperbacks. A mistake I had made was not expressly requesting the graphic illustrator of my choice to prepare the illustrations in the correct format. While the illustrations were accepted by both BookBaby (for the first book) and CreateSpace (for the second book), they correctly pointed out that the specifications would not provide the best output of the illustrations in the printed book. Worst of all, when I tried to upload to Ingram Sparks, the illustrated cover was not accepted.

 

Another mistake was not fully understanding how the self-publishing sources work. For example, for The Cats Who Crossed Over From Paris I decided to go with BookBaby. BookBaby’s technical support is strong, but a complete newcomer can still run into trouble. I found this out after I clicked on the wrong buttons for purchasing the printed version and the ebook which had appeared later on in the screen pages. This necessitated paying double after the book had been developed. In my ignorance, I had not asked the correct questions and talked my way through the whole process with their support services.

 

In a nutshell, here is my advice to new authors about to embark on the journey of self-publishing:

 

Decide on your self-publishing agent while you are writing but prior to hiring an illustrator.

 

Contact the chosen self-publishing sources and ask them to provide you with the exact specifications for the book. This includes requirements for the text formatting and layout, as well as anything your illustrator needs to know about image sizes, bleeds, or preferred resolution. This information may be available on their respective sites, but sometimes for an unfamiliar reader so much technical jargon can be overwhelming. My advice is to contact the self-publishing source either by telephone or email and ask specific questions about their requirements.

 

Above all, give some thought to your marketing strategy and work with a specialist to start devising a marketing plan before the book is published. You want to hit the ground running as soon as your book is available.

 

At the end of the day, I was pleased with the end results of both books produced by BookBaby and CreateSpace. My hard-earned lessons will help me move forward as a self-publisher as I complete the third book in the Inca Book Series.

 

See R. F. Kristi’s books here:

The Cats Who Crossed Over From Paris

Christmas Cats

 

This is a post from writeforkids.org. Read the original post: Simple Advice for First-Time Self-Published Authors

Children’s Author Gives Advice in New Edition of Book on Writing

By Laura Backes

Writing for Children and Young Adults (Self-Council Press) is the result of Marion Crook’s experience writing fiction series for both middle grade and young adult readers, nonfiction for children and self-help books for teens. Now in its third edition, Writing for Children and Young Adults aims to take aspiring authors through the creation of a manuscript, pitching it to publishers and then marketing it to the world. Here, Marion offers some tips on writing and presenting yourself as a professional author.

 

You write quite a bit in your book about creating characters. Can you please give us some important hallmarks of characters for picture books/easy readers, chapter books/middle grade, and young adult? How do these characters differ in their mindset and how they approach conflicts as they grow from young children to teenagers?

 

Characters in all books share common traits. They all need to be interesting. They need ideas and goals that the reader wonders about. They are usually intelligent so they can pursue their goals. They must have feelings that the reader can understand. And they must have faults that keep the reader unsure of the outcome.

 

Children have different interests and concerns at different ages. They move from simple, family and close neighborhood concerns to more complex issues and wider social connections. Young children can be seen to solve problems according to a simple moral code; older children can see nuances and more difficult moral dilemmas. As authors, we need to assess the moral and intellectual developmental stage of our readers and create stories that seem logical and possible to them.

 

Picture books/easy readers: The character must show the reader his or her world, even if it’s only a small pond where the duck wants to live, or an apartment where the dog tries to sleep. The characters give the child reader a personality to inhabit for a short time.

 

Chapter books/middle grade: These characters, particularly the main character, must have an interesting personality and a fascinating or curious quest. Readers at this age want a sense of “doing,” a feeling of movement and excitement. They are also aware of social and emotional choices that face protagonists of this age and expect the main character to solve problems ethically and to reveal some of her or his feelings and worries.

 

Young adult: characters in teen novels reveal more complexity than the characters of middle-grade books. They are seldom so self-confident that they breeze through life with few worries and great skills; they have self-doubt and often a sense of confusion. They are usually aware that they are, like adults, competent in some areas and incompetent in others and have to learn how to live with their limitations. Teens read for inspiration as well as entertainment and look for characters who have ambitions, skills in realizing those ambitions and a sense of purpose in life. They look for characters who are aware of beauty in the world and want to create it, who think about larger problems like peace and social justice and want to help create that. They want characters who show them how to be loved. Trends change quickly in this age group, so teens may be looking for new ideas and new worlds in their novels.

 

Is there a point of view to the text that’s best for each age group?

 

Young children like to follow a story from one point of view. If you are telling the story of the tortoise and the hare and the story is from the tortoise’s point of view, it is confusing for young children to try to see the story from the hare’s perspective. Older children may find multiple points of view interesting, but I stick to one point of view, even in my teen novels.

 

When one character tells the story from his or her point of view, the author must be careful that nothing can be known or understood by them unless it is reasonable. Susie, aged 10, cannot know what happened at the city council meeting the night before unless another character tells her, she reads about it or she overhears the information. With one point of view, the author must always be aware of what the character can and can’t know. The character can’t know what others are thinking unless it is obvious from their actions or conversation.

 

Do you have any tips on writing compelling dialogue?

 

Listen to people at the bus stop talking to each other. What kind of words do they use? What does their choice of word say about their personality? Their background? Their age? Each character has a distinct way of speaking that comes from their personality, their concerns, their preoccupations, even their occupation. If characters do not have distinct speech patterns, you will need to write more about them and get to know them better, so that they do sound unique. They don’t have to be unusual, just particular to the character. Beware of accents. They are hard to maintain and can be confusing.

 

Conflict drives dialogue. Write the dialogue and then go back and try to use more compelling, more dramatic or more engaging words.

 

You can write:

“Do the dishes, Susan.”

Susan whispered, “I don’t want to.”

 

Or you can write:

“Susan. Get your lazy bones up these stairs and into the kitchen!”

Susan whispered, “I work harder than you do.”

 

The second dialogue hints at a long-standing quarrel, a power imbalance and increased tension because the reader wonders if Susan is afraid and going to get into serious trouble.

 

What are a few things to keep in mind for fiction writers who want to try their hand at nonfiction for children?

 

What do the children you are writing for want to know? Pick something that your readers are going to be interested in, or find something so interesting that you can present it with such enthusiasm that readers will enjoy it.

 

Do the research and present accurate facts.

 

Write in a compelling manner. It may be instructional but it doesn’t have to be boring.

 

Keep your attitude one of exploration with your readers as if sharing your fascination with the subject and not top-down instruction.

 

What are your one or two best pieces of advice on writing a great query letter?

 

First of all, I recognize that query letters are difficult to write.

 

Go online to the website of the publisher or agent you are approaching and find their description of the query letter. They often tell you what they want in the letter. Read a book or two on writing book proposals as they will include how to write a query letter. Present yourself in the letter as professional, accomplished and eager. Be polite.

 

And finally, send out lots of queries and maintain an optimistic attitude.

 

Is there anything you know now about writing/publishing that you wish you’d known when you were starting out?

 

I wish I had known that it was important to keep all my pieces of writing in an organized filing system. It should be easy on computers, but somehow pieces of writing get lost.

 

I wish I had created a writing plan, much like a business plan, so that I could plot my progress over the years, readjust my goals and keep my career on a steady track. I wish I had taken more writing courses, and read more books on writing earlier. I wish I had connected with other writers more often over the years. I wish I had had a critique partner from the beginning. But I’ve decided to forgive myself for not doing all that. It’s been an interesting journey.

 

Learn more about Marion’s books on her website, or connect with her on Twitter or Facebook. 

 

This is a post from writeforkids.org. Read the original post: Children’s Author Gives Advice in New Edition of Book on Writing

Interview Excerpts: Middle Grade Author Will Taylor

By Jon Bard

by P.J. McIlvane

 

(note: these are selected excerpts from a longer interview that appears in the January edition of Children’s Book Insider, the Newsletter for Children’s Writers)

 

If your destiny is to write, you usually find a way to do it, even though you might take a couple of detours down life’s Yellow Brick Road along the way. Debut middle grade author Will Taylor (Maggie and Abby’s Neverending Pillow Fort, Harper Collins, 2018) is a sterling example of following one’s muse. Will’s enthusiasm and passion for his craft and life is infectious.

 

 

PJ McIlvaine: You have quite a colorful resume, per your bio: “a reader, writer, bee enthusiast, and former trapeze flailer.” And let’s not forget the years playing the French Horn and how much you’re obsessed with bees. How did you evolve from ex-trapeze artist to middle grade author?

 

Will Taylor: I should start by saying I’m a former trapeze flailer, not artist. I did static trapeze for three years or so, but was never good enough to perform for money or suchlike. Noooowhere near good enough. The studio I went to had tons of performance opportunities for date nights and that sort of thing, though, so I did get to do a duo routine to Heavy in Your Arms by Florence + The Machine and solos to We Belong Together by Mariah Carey and Part of Your World from The Little Mermaid before shoulder troubles grounded me. Videos of all these can be found somewhere on the Internet and I refuse to tell you where

 

I do miss trapeze dearly. Those were a good three years. As for the rest, I left the French Horn behind in college, and started collecting bee tattoos when I graduated, but writing for kids was always lurking in the background, waiting for me to notice it while I went about my random day jobs. Then in my late twenties I finally realized reading and writing middle grade were my real, actual, forget-what-you-think-you’re-supposed-to-do-and-be-honest favorite things ever, and I sat down with a notebook and got started.

 

 

PJ: How did you get the idea for your debut novel Maggie and Abby’s Neverending Pillow Fort? How long did it take you to write it, and how did you map out the sequel?

 

WT: The idea popped almost fully formed into my head one day, or at least the image of kids with linked up forts did. (I know, that’s the worst answer.) I’ve realized since that it owes a partial debt to the Hyperion sci-fi series by Dan Simmons, in which portals called “farcasters” let rich people have houses where each room is physically on a different planet. I loved that image when I read those books, and the linked up pillow forts in my book are similar. They allow kids to move from fort to fort around town, without, as far as their parents know, ever leaving home. Commence shenanigans.

 

The timeline question gets messy. The short answer is three years, but this book has been rewritten start to finish many, many times during those years. Blank page, start from scratch rewrites. The kind that require ice cream.

 

I started the first version in the fall of 2013. It was called Peacock Apocalypse and mercifully died a quick death after the first draft. (It was so, so bad. But it did let me sort out the rules of fort linking, which made starting over easier.)

 

The next version was called Fortress, and was about a boy called Mark who had bully troubles. I finished it in five months and got it ready for querying, then got some very direct notes from my beta readers—most of which were the word NO—so I started over on a brand new draft called Camp Sofa Fort in the summer of 2014. That became the draft that got me an R&R (revise and resubmit), and after several more rewrites, the complete removal of three main characters, and a switch to a female protagonist named Maggie, it got me my agent. One more heavy rewrite after that it sold. Which of course meant a whole new world of rewrites with my editor. And that meant more delicious ice cream.

 

I feel like it’s important to mention that I’d been writing with the intention of getting published for three years before starting this project. Fortress was the fourth full-length book I’d written, and I’d already shopped one book around to agents with no success. Not to say that I had much more of an idea what I was doing with the pillow fort idea, but at least I had my feet under me a bit.

 

Wait, what was the sequel question? How did I map out the sequel?

 

Hahahaha! Yesss…how did I…do that thing I’m not still totally doing…*grabs ice cream and runs away*

 

 

PJ: What is your writing process like? Do you outline or are you a pantster?

 

WT: Ohhh, I never know how to answer this question. I tend to think in scenes more than plots, so I just hork them up on the page as soon as they show up in my head. (Scrivener has been a lifesaver. I can slap up scenes or snippets or even just a few lines and move it all around later until it looks like a book. I always draft in Scrivener and edit in Word.)

Does that make me a pantster? I do need to know what the book’s about, in that “what emotional touch or heart moment or relationship aspect are we playing with, here?” way. Otherwise it’s just a big collection of scenes and a skeleton with no pulse. And I do like knowing the ending ahead of time. But I try not to force an outline on my plot or characters. That’s usually a path to a really bad story, as my first three books can definitely demonstrate.

 

 

PJ: If you could give your younger self some writing advice or tips, what would it be?

 

WT: Ooo, “Stop trying to impress anyone!” It never, ever works. That silly, chatty, totally embarrassing voice you use sometimes when you’re telling a funny story? Yeah, start there.

 

Also, make a list of anything and everything that seriously, truly, legit tugs at your heartstrings and tape it up by your computer. Keep reminding yourself of those things. Every time your heart sits up and takes notice of something add it to the list. Let those things into your writing.

 

 

PJ: Where do you see yourself, writing-wise, five years from now?

 

WT: Okay, late 2021… The pillow fort books will be out, and I’d love to have at least two more middle grades out or in the works. Also at least two picture books, which hold a massive place in my heart. But they take longer.

 

I guess I just want to be doing the writer thing, you know? I can’t WAIT to get to do school visits and talk about books and hopefully help kids feel more confident playing with writing and creating books themselves. I’d love to go around to a few conferences and be on a panel someday.

 

As for the writing, I hope my first drafts get better, or at least more coherent. Writing is editing, as the saying goes, but I wouldn’t mind not having to do quite so much of it for every project. I also hope my writing is looser and more fun, and I hope more of those heartstring items are making their way onto every page. That’d be the good kind of shiny.

 

 

This is a post from writeforkids.org. Read the original post: Interview Excerpts: Middle Grade Author Will Taylor