Writing for Children

THE LEAP OF FICTION
Writers are often inspired by events from real life. But to use that inspiration we must view real life as a launch point and then join it to plot. We look at the life event and then we leap far from it, carrying along only those scraps we need for the actual story. Stories aren't  recitations of what actually happened––that’s what articles are for––stories are for revealing truth.

Showing us reality beyond reality. Stories have a heart filled with personal growth and discovery. Life can be lively, but to make it a story you need to take a leap.

When Katherine Paterson wrote Bridge to Terabithia, for which she won the Newbery medal, she was inspired by a real life event. She said, ”I wrote Bridge because our son David's best friend, an eight-year-old named Lisa Hill, was struck and killed by lightning. I wrote the book to try to make sense out of a tragedy that seemed senseless."

Paterson didn't write the story of David and Lisa, tragic though the real life story was––she wrote a completely different story about Jesse and Leslie, a story born from the feelings she had about the real life event. The actual event sparked the story but the story didn't happen until the author made the leap from real life to a totally new thing––story.

For more ideas on how real life can inspire your stories, listen to the full episode.

Read more in our show notes: http://writingforchildren.com/034

You've got questions. We've got answers.

Let us answer your writing questions on the podcast. Go to this link and leave your question: http://www.writingforchildren.com/speak.

Does your manuscript need a fresh pair of eyes? Get a critique from an ICL instructor.
Go to https://www.instituteforwriters.com/critique-service/

SCAM PROOFING
If you think of yourself as tech savvy, you probably have virus protection, spam filters of some sort, and pop up blockers. You can chant, “Don’t open unfamiliar attachments” in your sleep. But there are worse things online than viruses and spam.

The Internet is like one of those ancient treasure troves you read about in stories. You can find wonderful things there. Or you can hit the booby traps and you’re trapped in the cave of doom forever. Not good.

A frightening numbers of writers have been scammed. By whom? By the unsavory people who’ve realized that writers can be a great source of funds. Some people have been scammed for thousands of dollars. Some cost you your pride and hope, which is sometimes worse than mere dollars. Writers have been seriously demoralized and made to feel like a fool. Some zealously guard the cheats because they can’t even face that fact that they were made fools of, believing they got exactly what they expected. At whatever level they’ve been cheated, it’s heart-breaking to see it happen to any writer, but especially to children’s writers. So let’s look at some things you really need to know to stay safe as a writer today.

For ways to scam proof your writing efforts listen to the full episode.

Read more in our show notes: http://writingforchildren.com/033

You've got questions. We've got answers.

Let us answer your writing questions on the podcast. Go to this link and leave your question: http://www.writingforchildren.com/speak.

Does your manuscript need a fresh pair of eyes? Get a critique from an ICL instructor.
Go to https://www.instituteforwriters.com/critique-service/

Today we’re going to talk about submissions. This is a topic that comes up frequently with each new contest. People ask about everything from naming and saving their Word documents to asking if we could rank all the entries. That way people would know where they stood. So, let’s spend a little time talking about the process of submissions.

Our contests were designed by the founders of ICL as a way for people to practice submitting their work to agents and editors. Let’s break down each piece of the contest process and how it applies to submitting to agents and editors.

FORMATTING GUIDELINES
Entries submitted to our contest must follow the guidelines listed in the contest rules page. Manuscripts should be double-spaced with one-inch margins and in Times New Roman or Courier 12-point font.

Why is this important in the publishing industry? It’s important because agents and editors may read hundreds of manuscripts a day, some from their current clients and some from hopeful writers trying to break through. By having a standard, it allows the editor to focus solely on the story and not be distracted by a strange font or hard-to-read size. It also allows them––at a glance––to get a feel for the length of your story. It also ensures that as
your manuscript goes up the publishing chain, formatting isn’t changed because someone’s computer doesn’t recognize the font you chose. Using the proper formatting and font shows you are professional. What did your teachers use to say? Neatness counts! (And it still does!)

For a better understanding of how submissions work (for our contest and out in the publishing world) listen to the full episode.

Read more in our show notes: http://writingforchildren.com/032

You've got questions. We've got answers.

Let us answer your writing questions on the podcast. Go to this link and leave your question: http://www.writingforchildren.com/speak.

Is your manuscript ready for submission? Get a critique from an ICL instructor.
Go to https://www.instituteforwriters.com/critique-service/

WHAT DO KIDS CARE ABOUT?
You may have heard me mention that the great nonfiction writer––and editor––Andrea Davis Pinkney said, when shekeynoted at the online conference, Picture Book Summit, that nonfiction sounds like nonfun. But you should know, kids love nonfiction. Sometimes we forget that some readers find nonfiction more exciting––it’s their favorite reading.

Also, there are very few magazines that don't buy nonfiction––but there are quite a few that buy only nonfiction. With this reality, most of us can see the value of dabbling in nonfiction, but some find their nonfiction pieces meeting rejection time after time.

How do we find the perfect topic and slant to make the sale? Often it comes down to connecting with our kid-side.

Let's sing that old Sesame Street lyric “One of these things is not like the others…” our example is that three of these articles ideas belong together, but one just doesn't belong here. Which one and why?

A Teaspoon of Kerosene for that Cough? Disgusting Doses from the Past
I Vant to Suck Your Fluids––Vampire Caterpillars.
Kids In the White House
Overcoming Homework Hassles––Helping Kids Set Priorities

Right, what kid is going to read an article on how to get kids to do their homework? If you wanted to write an article on homework, you would need to do it from the viewpoint of the kid, not of the parent hoping to get kids to work.

Many new writers produce nonfiction that would be of interest to adults––especially parents––but would not be of interest to kids. Now, writing for parents is a potentially lucrative market, but it’s a different market.
When you choose a nonfiction topic, realize that no one is going to make the child read it.

For tips on writing nonfiction kids want to read, listen to the episode.

Read more in our show notes: http://writingforchildren.com/031

What questions do you want to ask our instructors?

The faculty of the Institute of Children’s Literature wants to hear from you. Let us answer your writing questions on the podcast. Go to this link and leave your question: http://www.writingforchildren.com/speak. If it’s featured on the show, you’ll receive an awesome embroidered ICL all cotton baseball cap.

Wondering if your manuscript is ready for submission? Get a critique from an ICL instructor.
Go to https://www.instituteforwriters.com/critique-service/

Do you ever wonder if you have a real plot in your short story––something that an editor will find satisfying and complete? It can be tough, but one way to find out is to imagine your main character in front of you and just ask him or her some questions. What questions? Ah, there’s the key.

Kurt Vonnegut said, ”Every character should want something, even if it is only a glass of water."

The first question to ask your character is what he or she wants. A character who wants for nothing is probably not someone an editor is going to find interesting. Let’s ask that question of the main characters in two short stories––one for young readers (Penny) and two from two different stories for intermediate readers (Hannah and Carter).

Author: Hi, so, tell me––what do you want most in the world right now?

Penny: I want to go back to my old preschool where all my old friends are.

Hannah: I want Olivia to move back to Texas before she ruins my life.

Carter: I want to make enough money to buy another new cell phone, but I don’t want to be bored to death doing it.

All of these wants are very serious for the main characters. Now, Penny and Hannah aren’t going to get what they think they want––Carter will, but he may learn something about being careful what you wish for. Penny’s family has moved, and they aren’t likely to move back. And Hannah’s nemesis isn’t likely to move away just because that’s what Hannah wants. We can
sense the problems inherent in their desire right from the moment they tell us what they want.

For more questions to ask your characters, listen to this episode.

Read more in our show notes: http://writingforchildren.com/030

What questions do you want to ask our instructors?

The faculty of the Institute of Children’s Literature wants to hear from you. Let us answer your writing questions on the podcast. Go to this link and leave your question: http://www.writingforchildren.com/speak. If it’s featured on the show, you’ll receive an awesome embroidered ICL all cotton baseball cap.

Need a fresh set of eyes? ICL instructors offer critiques!
Go to https://www.instituteforwriters.com/critique-service/

One of the most common reasons for editors to reject a poem is bad meter. Meter is the pattern of stressed and unstressed syllables in a poem. When the pattern works, the sound of the poem aids the content of the poem instead of distracting from it. Many writers think it’s enough to for a poem to rhyme but don’t understand the nature and construction of meter.

So, if you know how to handle meter, you’re more than halfway to selling your poetry. But there is another problem that is probably just as widespread and can affect even writers with a totally perfect ear for meter.

I’m talking about forcing the rhyme. Sometimes a poem will be about a specific subject, or be telling us a lively story, but the writer will suddenly find herself stuck. She needs a line to rhyme with a different line. After all, rhyme scheme is important.

So, she’ll make a slight detour in subject so that she can make the rhyme––then she’ll return to the first subject:

While birdies all stand ‘round and preen
Spring wears a bright weskit of green
With buttons of white
A dazzling sight
The choicest of seasons I’ve seen.

Okay…why are there birds in a poem that’s basically a simile about how the bright spring grass and white spring flowers are compared to stylish clothes? Sure, there are birds in spring. And preening is kind of related to sartorial splendor, but let’s be honest––the birds snuck in to make a line that rhymes with green. And the poem’s writer knows it did. The editor knows it  too. The poem is not likely to sell, even overlooking the lame last line.

Once you’ve chosen what your poem will be about, you must be true to that. Rhyme and meter is essential but content is just as essential. It’s not a hierarchy. All must work together.

To find out how to make it work, listen to this episode.

Read more in our show notes: http://writingforchildren.com/029

We want YOUR questions!

The faculty of the Institute of Children’s Literature wants to hear from you. Let us answer your writing questions on the podcast. Go to this link and leave your question: http://www.writingforchildren.com/speak. If it’s featured on the show, you’ll receive an awesome embroidered ICL all cotton baseball cap.

Need a fresh set of eyes? ICL instructors offer critiques!
Go to https://www.instituteforwriters.com/critique-service/

8 INGREDIENTS OF A GOOD STORY

1. A cup of plot. A plot that proceeds logically from beginning to end, giving the reader a sense that this is exactly how the story must be told.

2. Four tablespoons of conflict. Okay, I’m dropping the recipe joke… let’s just get on with this! Conflict is an essential part of a good story plot. So, who or what is your main character in conflict with?

3. Dialogue. Exciting dialogue that brings the reader into the story. Dialogue where children
don’t talk like adults, and where all the children and adults don’t talk like each other. Make each
character a separate person and they will automatically speak differently and have more
interesting things to say.

To find out the other 5 ingredients, listen to this episode.

Read more in our show notes: http://writingforchildren.com/028

We want YOUR questions!

The faculty of the Institute of Children’s Literature wants to hear from you. Let us answer your writing questions on the podcast. Go to this link and leave your question: http://www.writingforchildren.com/speak. If it’s featured on the show, you’ll receive an awesome embroidered ICL all cotton baseball cap.

What’s Working in Your Manuscript, What’s Not, and How to Fix It:
Go to https://www.instituteforwriters.com/critique-service/

SERVING UP TEMPTING TITLES
When it comes to titles, most writers fall into two camps: those who seem to effortless come up with extremely cool titles like “Pistol Packing Paleontologist” (an article by Kelly Milner Halls) and those who struggle and strive to come up with something that doesn’t make an editor nod off in mid read. If you’re in the first group, excellent. If you’re in the second group, there is hope. It’ll take a little more effort but you can learn to whip up some tempting titles with the right recipe.

TITLES ARE NOT LABELS
When you’re labeling things, you choose the most information in the shortest form. The Ziploc bags in your freezer probably
say “hamburger” and “chicken,” not “tempting treat” or “future yum.” The problem with labeling an article or story is that a good label leaves little to the imagination. A good label for the story would tell the most important part and basically spoil the surprise. For example, Very Hungry Caterpillar might be labeled “A Caterpillar Turns into a Butterfly,” and Harry Potter might be labeled “Wizard Boy Saves the Day.” A label gives away the surprise.

You never want to give away the surprise.

To find out how give your title some oomph, listen to this episode.

Read more in our show notes: http://writingforchildren.com/027

We want YOUR questions!

The faculty of the Institute of Children’s Literature wants to hear from you. Let us answer your writing questions on the podcast. Go to this link and leave your question: http://www.writingforchildren.com/speak. If it’s featured on the show, you’ll receive an awesome embroidered ICL all cotton baseball cap.

What’s Working in Your Manuscript, What’s Not, and How to Fix It:
Go to https://www.instituteforwriters.com/critique-service/

Robyn asks:
Can you explain the importance of stressed and unstressed syllables in prose picture books to help guide the rhythm. Can you explain it? (Better than I just did!)

Geraldene asks:
Would today’s fourth grade children be interested in what life was like for kids back in the 1920s and 1930s?

Wendy asks:
How do I handle back matter in a picture book? Is it included it in the word count, should the font be different, and how would I include it––as a separate document or within the story?

Angelique asks:
What are the key differences between writing a story for a magazine and a book? How can we tell if our story is better suited for one or the other?

Kimberley asks:
How do you know when you’ve hit the right audience age range? Do you need to have kids in that age group or just read a lot of books targeted to that age?

Now leave us YOUR questions!

The faculty of the Institute of Children’s Literature are ready to answer your writing questions. Leave your question at http://www.writingforchildren.com/speak. If it’s featured on the show, you’ll receive an awesome embroidered ICL all cotton baseball cap!

For more information on questions featured in this episode listen to this episode.

Read more in our show notes: http://writingforchildren.com/026

What’s Working in Your Manuscript, What’s Not, and How to Fix It:
Go to https://www.instituteforwriters.com/critique-service/

CONFLICT FOR ANY AGE
Many times writers have trouble understanding the place of conflict in stories for young children. Either the stories will be devoid of conflict. Or they will be wondrous stories of fighting and near-death experiences. In magazine fiction, the place of conflict tends to land somewhere between these two extremes.

In story terms, conflict occurs when something must be overcome in order to move from our perceived goal to achieving that goal. Our main character’s goal could be want-based (getting a new bike) or need based (finding a way out of a trap.) The difficulty standing in his way tends to increase as the age of the main character increases. In a very young character, the child may only need to do some problem-solving to achieve the goal. For example, in “Zindy Lou and the Dark Place” by Judy Cox (published in Spider) the main character is frightened of the dark bathroom at school. She tries a variety of methods to solve her problem and finally hits on one that works. There is no bad guy, no adult to the rescue, no friends or siblings making fun of her fear––finding a way of coping with the fear is the sole conflict. However, for older readers conflict usually increases. In “Prayers and Other Nonsense” by Kathleen Ahrens (published in Skipping Stones), the main character must talk her mother into leaving their home before a storm destroys it. The need is greater and the conflict is more interpersonal.

For more information on developing conflict in your story, including a story structure template you can use for any fiction manuscript, listen to this episode.

Read more in our show notes: http://writingforchildren.com/025

Don’t forget to leave your questions!

The faculty of the Institute of Children’s Literature answers the podcast questions. You can leave your question at http://www.writingforchildren.com/speak. If it’s featured on the show, you’ll receive an awesome embroidered ICL all cotton baseball cap

What’s Working in Your Manuscript, What’s Not, and How to Fix It:
Go to https://www.instituteforwriters.com/critique-service/