Writing for Kids

 

[Making kids' books come alive: source]

I've been blogging about how to write in a literary fashion. This entry is not necessarily about literary writing so much as writing chapter books or middle school fiction. Many of these tips can help with any age level. However, there are many methods of writing that work just fine for writing for older groups. However, if you're going to write for older elementary or middle school readers, there are certain things one must keep in mind.  These are tidbits I've picked up over the course of my research on how it's done. Many writers have written exhaustively on these topics. If there's something you want to find more about, you can look it up. 

[Write for your reader: source]

1. Choose and research your age group. Step one when you're going to write for kids is to choose a target age group. The rule of thumb is that the characters in a book should be just older than the target reader. Therefore, if you're writing for young teens, your character can be about 16. If you're writing for the middle school or slightly younger age bracket, think in terms of 12- or 13-year-olds. If you're looking to write chapter books for those just out of picture books, think in terms of something like a ten-year-old protagonist. Whatever your age group, read what you want to write, so you get a sense of how to do it based on successful writers' work. 

[Keep it brief and fun: source]

2. Keep it moving. Everything should be kept shorter: shorter paragraphs, shorter sentences, and shorter chapters to keep the reader moving forward. If you can end each chapter on a cliffhanger, that would be better still. Action needs to start right away. You should show some indication of where the story is headed by the end of chapter one. It is helpful if you can even introduce an antagonist by the end of that first chapter. You can still think in terms of the hero's journey, but the time spent establishing the normal world should end as quickly as possible. 

 

[Keep it exciting: source]

3. Keep it exciting. Plan to keep most events and actions external for the most part. Kids often get bored with long internal monologues or flashbacks, which a mainstay of writing for adults and even teens. I've read a lot of romance novels that hinge on what is going on inside the character's mind, as in Pride and Prejudice. So much of what happens to Lizzy, Bella, Katniss, and just about any protagonist for older audiences occurs inside. That often does not work for kids. There may be the occasional very brief flashback and some thoughts, but the vast majority of action should be represented outside the characters' heads. Show don't tell is particularly critical in kids' books. Say your character is angry. Show him clenching his fists and turning red. External action is often more fun than internal, and show is almost always better than tell. 

[Don't fog up the action: source]

4. Keep it clear: 

            a. Skip the fancy language. Adverbs will often make the action wordy and long. Stephen King's biggest complaint about the Harry Potter books when they first came out was that they, like many outings by novice writers, were choked with adverbs. Dialogue tags, especially, should stick to said, asked, shouted, or whispered simplicity and not include adverbs. Actions can be used instead of dialogue tags, as long as it's clear who said what. Keep adjective lists brief. Avoid passive language. 

            b. Don't use filtering language. Filtering language, language describing what characters experience rather than just showing the actions, can also bog down the story. Don't have the kid watch a fight. Just show the fight. Don't have the actor in a sentence see, hear, watch, feel, etc something. Just make the thing happen. Make the main actor in the sentence the person doing the thing. Don't: John watched a parade march by. Do: John stood at the door while a parade marched by. 

            c. Scene and sequel. Reactions should occur only after the action. This is called scene and sequel. Don't: She jumped to the side because a rat ran by. Do: A rat ran by. She jumped out of the way. This makes action clearer and crisper. The reader is reacting even as the character is. 

            d. Avoid head hopping. If you must switch back and forth between perspectives, do it between chapters. Hopping from head to head to head in the middle of a chapter, especially in kids' books, can get confusing. 

            

[Get help as you review: source]

5. Get help as you review. Writing groups can help you with your dialogue to make sure that it actually sounds like the way kids speak. You don't want a regular kid to talk like an adult. Programs like Autocrit can help you make sure your writing is appropriate for the target audience and can help you eliminate items above that get overwhelming. 

If you have a piece for younger audiences, make sure to review the tips above with it. The most important part is to read what you want to write. If you haven't read kids' books, it's really hard to write them. If I missed anything, please post it in your reactions. Also, tell me how things are going with your kids' books. 

            

Building Tension through Planning

[Making a Plan: source]

 I've been blogging about how to write in a more literary fashion. Before I launch into that, I have to make a quick plug. The first installment in my kids' chapter book series, Doomimals, is now available on Amazon. This is just the beginning of a major saga we have planned. I have the first ten books drafted and many beyond that planned. It's about three kids and their animal protectors saving the world from the minions of the evil Bird and the Dog of War. If you're interested, you can pick up a copy here. Today's topic is planning and is not specific about literary writing but about writing in general. There are conventions are a character in a story making plans. They're simple but must be remembered as a way to build tension in the reader.

[When the Plan Goes Wrong: Source]

Most people have read a book or seen a show in which a character gives very specific details of a plan for something they're about to do. Now, predict what happens. Of course, the plan goes wrong. I've read books in which the plan goes RIGHT. When that's the case, the reader is bored because they see the plan, they see the plan executed, then they see characters chat over what just happened. With teaching, with real life, this is the idea. But in storytelling, it's a great way to bore (read: lose) the reader. SOMETHING in the plan has to go wrong, or your reader will be unimpressed. I'm sure you can think of several examples of plans falling apart right now. The plan sets the template of how it's supposed to work and foreshadows that something will go wrong.  The reader is on the watch for that something. It actually amps up tension anticipating this. 

["I love it when a plan comes together." Source]

If, however, your characters are actually going to complete their plan, the narration should get vague about what's about to happen. "Joan and Simon made a quick plan about how to break their father out of jail." Something like that works fine. When I read that in a narration, I know it will likely work. However, you can twist the reader's sense of what's coming by getting vague and then have things fall apart anyway. It may be a bit frustrating because the reader doesn't know how things should work in the first place, but if the plan isn't central, it can still work. Not sharing the plan builds tension because the reader will follow along with the characters and see them execute the plan as it happens. 

[Planning toward Tension: Source]

Either way, a plan is a useful technique for building tension. Think of shows like "Mission Impossible" or "Oceans 11." The parts of the plan that will go wrong are laid out in detail, so the reader can view them as a template for what should happen vs what does happen. Particularly in the Oceans series, the audience is not party to the plan until it's executed. There are parts of it we don't learn until after it's executed to provide plot twists and unexpected events. We, the audience, find out what the full plan was along with the antagonist, who only finds out how badly he lost after he did so. This step beyond creates both tension and excitement. 

[Your turn: Source]

Read or watch shows in which the plan is discussed and doesn't work or glossed over when it does. Is there a point in your story in which you can use this pattern? Is there a place where it's useful to only show parts of the plan after the fact? Can you amp up your reader's tension by showing how it should work? Give me examples of either in the comments. 

Prepping to write your story

[Writing: source]

I've been blogging about how to write in a more literary manner. There are multiple things to consider as one starts a new piece in order to make it deeper, more meaningful from the start. It's not just a matter of just writing or spending endless amounts of time researching.  There are certain steps that will help one fully understand the story before starting. 

[Story bus--source]

1. First, when you have a germ of an idea, do a basic brainstorm about your story and characters. Who is your character? What era? What world? What is your basic plot idea? What is going to drive your story bus? By that, I mean will your story be driven primarily by character development (resolving your character's unhappiness/misunderstanding), plot (something's broken in the world, and your character needs to fix it), question (who dunnit?), or milieu (think Gulliver's Travels or Lord of the Rings--the most important character is the world.) 

[Harry Potter-source]

When you start one of these types of stories, it's not over until you've fulfilled the contract with your reader. Harry Potter, for example, is driven by all four. The story isn't over until Harry is happy, what's broken in the world is resolved, the mystery is solved (in Harry's case, a series of questions, one posed before the next is resolved), and the foreign world is introduced (we understand the basics of the wizarding world). I, personally, had a harder time getting into the latest Harry Potter-adjacent movies because they're more milieu-driven, more about the magic and denizens of the magic land than character development or fixing a broken world. 

[Building worlds-source]

2. Once you have the basics of your story established, this is when you get into more detail, understanding the world of your story. This would be a good time to do your research if you're creating a piece set in a different time or with characters grappling with an event or condition you don't understand. It would also be a good time to create your map of the location. You'll also want to establish a fictional (sci fi/fantasy) magical set of rules. Your characters and plot will want to stay true these rules if you plan to keep your reader involved. They can help you develop the power sources, magical rules, creatures, etc.

[Creating Characters-source]

3. You'll also want to understand your characters on a deeper level. At this point, you may have names, perhaps an interview with likes, dislikes, wants, needs, and a bit of a story. This is a good start, especially when it comes to wants vs needs. A plotline can be built around the conflict between what your character wants most vs what they need most. They may want to stay home and feel safe, but they really need to go on this quest, or their loved one will die. 

[Understanding your character-source]

Their protagonist's fears and desires could be the foundation for a friend or, better yet, antagonist. I always get a rough idea then decide on an enneagram (character) type, which gives me a lot more depth. These types come ready-made with a lot of characteristics. It can help you figure out your character's basic flaw and misunderstandings, which they then need to outgrow throughout their character arc. 

[Outlining-source]

4. Once you have world, character, and rough idea for a plot, those who feel comfortable with outlining can then outline a rough or even specific plotline. I'd recommend you refer to a three- seven- or twelve-act structure (various guidelines that walk you through the hero's journey) as a foundation. I tend to be a pantser who writes then outlines unless it's a plot-based story, in which case I use very basic outlines. One way or another, you'll want a tragectory of your story. 

[Just Write-source]

5. Once you understand your plot, characters, and world, it's time to simply write. I wouldn't edit, rethink, revise, rewrite in any way until I get to the end, or there's a good chance you won't finish. You'll lose steam and get frustrated. Revision comes later.  

If you don't already have all this planning in, you may not be ready to write your novel/biography/etc.  If that's the case, you may have some planning to do.  

Balancing Flat and Round Characters

[Writing-source]

 I've been posting on writing with meaning.  Most writing classes will insist that characters have to be round, that they have to grow through the story.  And for the most part, that's true for the main characters of books for teens and adults.  However, flat characters do have their place in literature.  When you write a story, you need to decide which characters need to be flat with little to no growth and which need to be round.  

[kids' books-source]

Think through popular children's books, and you'll see they are often driven not by character growth but by adventure. Both Captain Underpants and Geronimo Stilton, some of the most popular books,.  Kids love the humor, the excitement, and the color in these books.  If the two kids of Captain Underpants learned to be good, emotionally mature boys, they wouldn't be funny,  Kids would lose interest.  If Geronimo Stilton changed, target audiences wouldn't know him.  They want him to stay the same as he goes on his adventures. 

[Luna Lovegood-source]

Furthermore, a lot of background and side characters in books for older kids and adults similarly don't need to change.  In Harry Potter, Dobby stays the same loyal character.  Luna Lovegood may change some, but she stays true her nickname "Loony" no matter what happens around her. Hagrid never understands that his stubborn love of dangerous animals puts everyone around him in peril.  If they ever stopped being themselves or became moving targets, you wouldn't be able to use them to measure the growth of the main characters.  Part of their charm is they stay the same. 

[Hogwarts-source]

Even villains often stay the same, though not always.  Voldemort doesn't learn as Harry Potter goes on adventure after adventure to face him and take him down.  He holds that he is the only one to take down Harry, even though he's often the only one who can't.  Malfoy gets taller but doesn't stop being the same bully he was as a first-year throughout most of the story.  Side and antagonistic characters don't have to grow any more than kids' story characters do.  

[Books for older kids-source]

However, if your character or characters are at the center of a book for older kids or adults, he/she/they should grow.  That's when you look at what kind of growth you want to explore.  It doesn't have to be about the moral of the story, as in a conventional moral, like be a good child or obey your mama. Few people enjoy reading a book more about agenda than story, regardless of what your point is.  However, think carefully.  What kind of misunderstanding does your character start out with that he/she/they can grow out of?  

[Frozen's Elsa-source]

For instance, in "Frozen," Elsa's misunderstanding is that she can protect the world, especially her sister, and find happiness through isolation.  First, she tries isolating herself at home, then, when she leaves home, she finds a new place to hide.  She even sings an anthem to isolation, "Let It Go," and banishes herself to an ice castle.  Her isolation protects no one and brings her no joy.  Anna starts with the misunderstanding that she needs a stranger to save her from the misery of her isolation. In the end, neither sister finds happiness until they both decide their true happiness is in each other.  They grow and mature through overcoming their misunderstandings.  They are the round characters, while Olaf, Duke Weselton, Hans, and the others remain more or less the same.  

Part of the joy of crafting characters is to decide who needs to grow and who will need the same as the adventure and scenery around them change.  How does your main character grow?  What characters can remain flat?  

Balancing Light and Dark

[Balancing light and darkness; source.]

I've been blogging about writing in a more literary fashion.  One thing authors have struggled with is finding the right balance between light and darkness.  Some authors intentionally keep their pieces light.  Modern versions of fairy tales often have almost all light with very little darkness.  Yet the human experience rarely reflects this kind of existence.  If it's a book specifically for children, this makes sense.  But if it's for an older readership, there ought to be some kind of real challenge, some kind of difficulty or experience grappling with the darkness of this world.  If there's no real challenge/struggle/drama, there's no story.  However, a story that is unremittingly dark can overwhelm and turn off many readers.  Part of the point of writing is to entertain and to bring enjoyment to someone's life.  Most people don't find enjoyment when a piece is either all dark or all light. 

[source.]

So where can a writer find that balance?  Part of it is in the genre.  How much light or darkness is appropriate for the genre you're pursuing?  To find this, it's a great idea to read a lot of that genre.  Familiarize yourself with how others balance light and darkness.  Read materials about writing that genre.  You can push the envelope one way or another, but most people have certain expectations for the level of light or darkness and will find the experience of reading your book unpleasant if you stray too far outside the norm. 

[Hamlet]

Shakespeare is a good model for balancing light and darkness.  He writes characters with both light and dark aspects and tends to alternate dark scenes with light scenes.  A good model for this is "Hamlet" with the porter scenes.  We get a heavy, dark scene of Hamlet learning his father was murdered by his uncle, who now inhabits the throne and is married to his mother.  That is immediately followed by the porter scene, the source of the knock knock joke, full of whimsy and humor.  Another source for light would be love, hope, and joy.  However, I once read a book that went predictably back and forth like a wavelength, joy then sadness then joy then sadness then joy then sadness.  It got a little old and redundant. 

[Map your balance; source]

When you have a draft, I would recommend mapping out your areas of light vs darkness.  If it feels like there is too wide a span where it's one or the other, it may be a good idea to lighten the dark scenes with a bit of humor/hope or darken the light scenes with foreshadowing of hardship to come.  This doesn't mean undercut the emotional depth with humor.  It helps when the darkness and light can appear together, one enhancing the other as in a painting. 

[source]

The story needs to be balanced, but the first step is often to balance your characters, particularly hero and villain.  If you have a character who is just too dark with no redeeming characteristics, think of a way to help the reader see their point of view, even if the point of view is not one the reader can condone.  Show his/her humanity.  If you have a character that is so light that he/she becomes a Mary Sue, perfect without flaw, it's time to consider flaws that work within the context of the story.  Snow White is only a perfect Mary Sue in Disney.  In the Grimm Brothers' version, the evil queen reflects Snow White's own vanity, selfishness, and other dark traits back at her.  In destroying the queen, she's symbolically destroying the darkness from her own soul.  It's best when you plan these flaws from the beginning, so the story actually works as a way to help them work through those flaws, so the darkness springs somehow from or relates to the character him/herself.  Jane Austen's Emma highlights a character whose drama and exploits spring out of her own selfishness and ego.  Dr. Jeckyll self destructs--taking many people with him--because of his hubris and his drive to create a perfect world, instead, turning himself into a serial killing creature born of nightmares. 


It's important to figure out what balance would work for your story.  Are your characters a mix of dark and light?  Does this balance keep them intriguing?  Does your story balance dark and light in a way that works in your genre and with your plot line?  If not, it's time to work on it.