Ever Tried Writing for Children?

(NOTE:  I will be out of town Monday through Thursday next week, so no posts on those days) 

Today's poster has nothing to do with the topic, but is rather a farewell to July and a welcome to our next month, August. 

Have you ever tried writing a story for children? A poem for little tots? A non-fiction article for grade school kids? If not, give it a try. You may find you enjoy this kind of writing, or you could discover that it's hard work and maybe you'd not want to do it all the time. Many writers  Many writers concentrate on producing children's stories and nothing else. 

There are writers who think that writing for children is the same as the way we write for adults. Just shorter! That's not the case. Shorter alone won't do it. There are a number of things to keep in mind when you write for children such as:

Age Level:  The age level is important. There are toddler books, pre-school age, primary grades for kids 6-8, middle grade for 9-12 year olds, and YA (young adult) for the teen crowd. Settle on one. I chose middle grade since I had taught 3rd and 4th grade way back, and that age group still interests me.I admire those who can write for the very young children. It's not at all easy.

Content: The writer must keep in mind the age level. The younger the child, the simpler the content must be. For middle grade and YA, the content can be more involved the story can be. Children's writers have always been advised to steer away from controversial subjects, references to sex and gender situations, but today, that is not necessarily so. Still, I would hope that writers for kids would handle controversial subjects with care. Years ago, there would have been no swear words in a middle grade book. Today, it's alright with many editors. As I advised one writer, using cuss words throughout a book doesn't accomplish much, but use them in a very few places, and they will take on more strength and meaning. In other words, a little bit goes a long way. 

Fact or Fiction:  Children's writers need to be sure they are using correct facts in articles. They need to be sure the historical fiction stories represent the era in which they are set. Don't have a character ride a train out west long before railroad tracks had even been laid in that area of our country. Historical fiction for kids should show a true picture of the times. 

Vocabulary:  Again, age level matters here. It's alright to use a few words beyond the usual for whatever age group you are writing for. Children will often figure out the meaning of a word from the way it is used in a sentence. But you need to keep it to a minimum. Younger children's books use simple words while the older the child is, the more involved the vocabulary can be. 

Technique:  Children's writers use the same techniques in writing fiction that writers of adult fiction use. They must consider plot, theme, emotion, sensory details and more. One cardinal rule is that the child in the story must solve the problem, not an adult. 

Stories that appeal to kids:  They like humor, mysteries, and adventure. For YA, love stories are added and teenage problems addressed. 

Word Count:  Read guidelines for children's magazines and book publishers carefully. Highlights for Children is a longtime popular magazine for kids, but their word count for fiction is only 800 words. It's not easy to write a full story with so few words, but people do so as can be affirmed by the number of years Highlights has been publishing 800 word stories. The thing to remember here is to write tight! The extras have to go.

My main writing today is creative nonfiction, but I still enjoy writing for children now and then. Below is an award winning story I wrote after reading a newspaper article about a problem librarians had with children being sent to stay at the public library after school until Mom or Dad got home from work. My story is fiction based on that news article.

There’s A Dragon In The Library

Wilhemina Higgins’ long braids bounced as she ran down the narrow tunnel the bookshelves made in the Westlake Public Library. Her untied shoelaces slapped against well-worn sneakers. Past the Js, Ks, and Ls she flew, only slowing slightly as she rounded the corner. 

     

Wilhemina spied a dragon waiting at the end of the row of shelves.  She screeched to a sudden stop. Her heart thumped.

    

At first it was silent. Then the monster snorted, lifted its huge head, took in a gigantic breath inward and fell silent again.

    

Wilhemina swallowed and took one step back. Before she could turn and retrace her path, the enormous dragon reared back on its hind legs, threw back its massive head, and breathed out a whoosh! Smoke curled from its nostrils while flames burst forth from the great mouth. The dragon clawed the air and flapped magnificent wings. The green and purple scales that covered the beast from head to toe gleamed under the library lights. Its amber eyes glinted like cut crystal.

    

 “Wilhemina Higgins!” The dragon roared. “How many times have you been told? There is no running in the library.”

     

 “Do you mean today, Miss Philpot?” Wilhemina looked right into the dragon’s eyes. “Or did you mean all week?”

    

 “You know the rules,” the librarian said. “Why do you come here, if not to read?” Miss Philpot breathed heavily, and she opened and closed her claws.

      

Wilhemina feared the dragon might snort and spurt fire again at any minute.

      

“My mother doesn’t get home from work until 5 o’clock.” Wilhemina’s voice was as firm as Miss Philpot’s. “She says the library is a safe place for me to stay after school.”

    

 The dragon pulled her sweater close around her shoulders. “If you cannot follow the rules, you must go outside.”

    

 “It’s cold as a bowl of ice cream out there, and it’s going to rain, too.” Wilhemina answered.

     

 “Then go sit on the steps.”

    

 “The steps are hard as rocks.”

    

 “You could stay at school,” Miss Philpot answered, barely moving her lips as she spoke.

    

 “There’s no one there,” Wilhemina answered back in the same way, lips scarcely moving.

     

 “Then you must study while you’re here.”  Miss Philpot’s eyes flashed, and her hands turned claw-like once more.

“I’ve studied all day,” Wilhemina told her. She folded her arms and spread her feet apart, ready for battle.

     

The dragon hissed and narrowed its eyes. “Don’t be insolent.”

    

 “I don’t know what that means,” Wilhemina said.

    

 “Then go look it up!” Miss Philpot cried as she rushed to her desk.

     

Wilhemina felt a tug on her shirt tail and turned around. “What do you want?” 

     

Eyes wide, the tugger looked up at Wilhemina. “Is she mad at you?” 

     

Wilhemina sighed. “Every day. So, what’s your problem, Lucy Ann?”

    

 “I’m bored.”

    

 “Then go read a book.” Wilhemina thought her answer sounded a great deal like Miss Philpot.

    

 “Can’t read yet,” Lucy Ann replied. She pushed her bottom lip over the top one and stared at Wilhemina.

     

 “Oh go away and leave me alone,” Wilhemina said. She sprinted along the line of shelves ignoring the brightly colored book jackets. She stopped at the tall library windows where rain beat against the panes and thunder rattled them. She put her elbows on the windowsill, curled her hands around her cheeks, and watched the wind bend the tree branches outside.

    

There was another tug on her shirt. Without looking around, she said, “What do you want now, Lucy Ann?”

    

 “Read this to me.” Lucy Ann held up a large picture book.

 Wilhemina shrugged and took the book Lucy Ann held out. “Why not?” She sighed.

They marched past the dragon’s desk. Miss Philpot watched silently, but Wilhemina thought she could see tiny wisps of smoke curling from under her nose.

     

The two girls sat at a round table, and Wilhemina read aloud in a quiet voice, wriggling on her chair as she turned the pages.

    

 “You can do better than that, Wilhemina.” Lucy Ann scowled. “You sound dull.”

     

There was a moment of silence. Then Wilhemina said, “You’re right!” She sat up straighter, flipped back to page one, and read with more feeling. She used a different voice for each character in the story. Halfway through, she noticed three more listeners around the table.

     

“Keep going,” one of them said when she stopped reading.

    

Wilhemina laughed and continued reading the story and showing the pictures to the younger children.

    

From the corner of her eye, she spied a fluffy, long-haired cat dancing about on dainty paws. Its amber eyes surveyed the group at the table. Then, the cat purred deep in its throat.

     

When Wilhemina closed the book, the cat purred again and said, “Wilhemina Higgins, you read that book wonderfully well. Perhaps you could start an after-school story club. What do you think?”

     

“I think I would like that very much, Miss Philpot.” Wilhemina reached out to shake the paw the librarian offered her.

©

    

 

Writers--Self-Doubt Is Your Enemy

Self-doubt is the subject of today's poster. Who should we blame for self-doubt? There's a clue in the first part of the word. Self! No one else sprinkles you with this debilitating characteristic. It's not the fault of an editor or another writer or those who critique your work.

Nope. Anyone who suffers from this problem can blame only one person. Look in the mirror and you will see the person who sowed the seeds of self-doubt, nurtured them, and watched them grow. Harsh words perhaps, but to overcome this problem, you need to face facts.

How do we let self-doubt begin? We use the words of an editor or a person who critiques our work hurt us, pull us down, and make us feel unworthy. Instead, we should heed the words as a lesson to be learned. These people are not attempting to bat us down. On the contrary. Their intention is to help us see what needs to be worked on, how we can become stronger and better writers. That only works if we, as writers, accept it as meant.

Attitude plays a major role here. If your outlook is that every person who critiques your work is intent on making you feel like you are a terrible writer, then you definitely will feel that way. If you think that editors and critiquers are trying to push you out of the writing business, then you may soon convince yourself that you should quit. Stop where you are on your writing journey and return to square one. 

I feel sorry for any writer who thinks like that. You become your own worst enemy. With each new critique or comment from an editor, you push yourself deeper into the hole of self-doubt. Next comes self-pity. Believe me when I tell you that the only one who comes to a pity party is you, and it can be pretty lonely. 

Beginning writers are of two types--those who are inspired and passionate, ready to conquer the world of writing and those who are scared to death, worrying that they are not good enough to be a real writer. The second group begins with self-doubt. What do you think will happen as time goes on? They will feed it and allow it to become more and more worrisome. They may even develop that dreaded disease called Writer's Block. 

How do you stop doubting yourself? Try the following:

A.  List your successes, not your failures. Every writer has failures now and then, but it doesn't mean you are a bad writer. It means you need to work on the problem areas, learn all you can from reading about your craft, and take the words of a critique person as an aid in learning.

B.  Go to that mirror again. Look into it and repeat over and over something like "I am a writer. I will be a better writer. I will learn from my mistakes." Say it often enough, and you'll begin to believe it.

C.  Accept praise when it is given. Do NOT put yourself down when someone compliments you on your writing. Be happy and thankful for any compliments given.

D.  Keep a journal and write something good about your writing life every day. Dwell on the positives. Once a week, read all you have written for that week. 

E.  Believe that all writers can improve their writing. Because there is room to be a better writer does not mean you are a bad writer. Not at all.

Don't let self-doubt become an enemy to your creativity. Remember that YOU are the one who is in control. You have a choice every day. Tear yourself down or lift yourself up. The cure doesn't happen overnight. It's gradual, but any progress is helpful to the self-doubting writer.

 

Learning From the Edits of Others

 

Today's quote says:  " No author dislikes to be edited as much as he dislikes not to be published." Russell Lynes is credited for this quote. I like the content better than the sentence structure! 

I think there is truth in the quote. Most writers have publication as a goal. Being edited by someone else is difficult for some writers to accept. Have you ever been in a writing group and watched someone being critiqued who does not accept criticism well? It's rather painful for all involved. 

I was once asked to read and critique another writer's short story. She was a beginning writer, so I knew there would be lots of things to point out to her. I tried to be as kind as possible with the story that needed so much work. When we got together for coffee one afternoon, and I brought my thoughts on her story to her, she became angry, grabbed the story, and stalked off. She never spoke to me again. The lesson here is that you should not ask for a critique if you are not willing to accept the suggestions given. This woman was thrilled with the story she'd written, and she wanted me to be thrilled with it, too. When I pointed out all the places that she could work on, she was insulted and hurt.

The idea of a critique is to make some corrections and suggestions to help the writer create a stronger, better story. It is not a personal attack, although some writers take it as such. Critiques are to help, never to hurt. And the writer should look at it as a way to learn more about writing. 

Years ago, when I joined my first online writers' group, I read not only the critiques of my own submissions but those of other members, as well. It was a terrific learning experience. I found it better than attending a workshop or reading a reference book on how to write. I continued to read the critiques of all the members which helped me become a better writer. I also learned how to write a critique for others in a helpful way. 

When we submit our work to an editor, and that editor rejects our submission, but also gives some reasons why he/she did not want to publish it, we should take it as a learning opportunity. Of course, our first reaction is disappointment that something we were proud of didn't make it. Next, we should look seriously at the editor's remarks. We need to give some thought to what was pointed out. Do we agree or totally disagree? Are we willing to make some changes before submitting elsewhere? Are we big enough to accept the criticism and grow as a writer or not? 

Sadly, many editors reject a submission without giving any reasons. Granted, it takes more time for them to do so, but wouldn't it be nice if they took the small amount of time to help a writer? Of course, I am looking at this from the writer's perspective. If I was an editor, my outlook might be completely different. 

No one likes to be told that they could do better. No writer wants to be told to revise and edit again. It is only demeaning if we allow it. Develop the attitude that critiques and edits from others are meant to help us, not hurt us. They should make us stronger writers who get published more often. 

One of the best writers I know, one who wrote an award winning book, sent a short story to be critiqued by our writing group. She had plenty of feedback. Critiquers pointed out a few discrepancies, a few confusing sections, and more. She sent a thank you saying how much she appreciated the help and how she had not realized some of the problems. We often do not see the problems in our own writing. It takes another objective person to help us discover them. That is one of the top reasons for having someone else critique your work. 

You can be disappointed with a critique or an editor's comments, but don't let it deflate you. Use it as inspiration to continue to work on your story and submit it to another publication. Keep in mind that publication is your goal. Revising and editing move you along the path to reach your goal. 

Draw from Experiences When You Write

 

(NOTE: Please check your spam box to see if some of your posts from MailChimp have ended up there. I have had a few, along with a box telling me it looked suspicious. I checked that it was safe. This new process is taking some time and frustration to get running smoothly.)

The poster quote for today says "nothing that happens to a writer is ever wasted.' What do you think? True or False? 

Personally, I am in agreement with the quote. Whatever experiences we have been filed away in little boxes in the recesses of our minds. Something will trigger the memory of that experience, and the box opens for you to explore and perhaps use in a story. 

Did you have your heart broken when your steady boyfriend/girlfriend broke up with you? You can tap into that memory and write a great scene in your romance story. Did you ever spend time in a hospital? You can write well about a character in a hospital as you've had the inside look at being a patient. Were you ever in an accident where you were injured? Once again, you know firsthand what it felt like--the pain, the fear, the reaction of others. 

When we write, we do use our imagination a great deal, but we also rely on the life experiences we've had to help us write with realism, with feeling, and with expert knowledge. 

We have multiple happenings in our lives, and you might think that you'll never remember them all. Perhaps not all, but the ones that impressed you will come back easily with a trigger. 

What about keeping a small notebook with life experiences as they happen to you? Sounds like a fair idea, but I doubt we'd have something exciting or traumatic happen to us, then go running to get the little notebook so you can write about it. On the other hand, if you are a person who keeps a daily journal, you will most likely write about those experiences that are important or impressed you in some way. Journalists benefit from having a record of these happenings. Only one of the positives in journaling.

Take a few minutes and look back over your lifetime. What experiences did you have that might end up in a story someday? It needn't be the entire occurrence; sometimes bits and pieces of an experience will work their way into your writing. 

My husband spent a summer during Law School working on a wheat ranch in Montana. He's told me so many stories about that impressive, eventful summer. If he was a writer, he would have a lot to help him write a story about that kind of summer work or about a ranch hand who had a permanent job in the same kind of surroundings.

You may think nothing much has happened to you, that you don't have a lot of experiences to draw from. It's not only the monumental  happenings that can end up in our writing. Small things count, too. 

So, yes--'Nothing that ever happens to a writer is wasted.'

Put Emotions Into Your Writing

 

(NOTE:  I received a notice that Google is now going to support email subscriptions through mid-August. So, looks like you will be receiving two copies of my posts until then. I will be very happy when this is all said and done and the only copy you will receive is from MailChimp!)

Have you ever finished writing a story or essay, read it over, and realized it was kind of blah.? Sort of flat? One reason could be the lack of emotion in what you wrote. Adding emotion brings a story to life. It speaks to the reader and sometimes brings forth emotion in them, as well. 

When we write a story, we know the emotions the characters are experiencing, but our readers don't unless we show them. Note that I said 'show' them. Don't toss in a She was so happy. or a Ben felt sad.  or a She was so angry at him.  All those short sentences tell the reader how a character felt. Showing is always better. How do you do that?

Let's take those three short sentences and make them show rather than tell.

A.  She was so happy.

B.  She twirled around and hugged herself with a broad smile lighting up her face. 

Note that the second sentence never mentioned the word 'happy.' 

A.  Ben felt sad.

B.  Ben bent his head, and he wiped the tears from his cheeks.

No 'sad' in this second sentence, but we know Ben is sad from his actions.

A.  She was so angry at him.

B.  She balled her fists and glared at him, then threw a punch in his gut.

We never see the word 'angry' in the second sentence.

People have many emotions in everyday life. Doesn't it stand to reason that characters in a story or a book will have them, too? The writer must work hard to show those characters feeling sad, happy, angry, scared, or any other feeling. Don't write as an outsider looking in. Instead, immerse yourself into your story so you feel the emotion as much as your characters do.

Showing emotion brings the characters to life. It works in both fiction and creative nonfiction. In the latter, you are telling a true story using fiction techniques, which means emotion is of importance in this kind of writing, too. 

Showing emotion in your characters helps your reader to relate to them as real people. When I cry in a book, and it does happen occasionally, I know the writer has done a good job in creating characters who feel real to the reader. Don't let your characters be stick figures; make them human with real feelings.

Do Writers Need Courage?

 

I am particularly fond of today's poster quote. It says "Courage doesn't always roar. Sometimes courage is the little voice at the end of the day that says "I'll try again tomorrow."

There are days when our writing gives us one problem after another. Nothing seems to go right. We end up discouraged, depressed, and disgruntled. We need courage to go back to our writing the next day. We need that big roar that pushes us and makes us write well, get over the roadblocks that we fought today. 

But do we need the big roar, or is it enough to hear a little voice that whispers to us about trying again tomorrow? I think that is all we need, but we have to stop complaining to ourselves about our bad day and really listen. I often think that people 'hear' but do not 'listen.' There is definitely a difference. 

We should give ourselves some quiet time at the end of the day. Have a cup of tea. Sit in your rocking chair and rock. Somehow that motion is soothing to us as adults as much as it was when our mothers rocked us long ago. Close your eyes and listen for that voice that tells you to try again tomorrow. 

Success tomorrow is not guaranteed, but it is quite possible. After a night's sleep and being away from the troubled writing day we had, things are bound to go better. Especially if we approach our writing with the attitude that it's a new day, a fresh start, and do it with a smile, not a frown. 

Think about inventors. If they gave up when things didn't go right, we'd not have many of the great things we have today that make our life easier. Inventors must often have gone to bed feeling discouraged, but they listened to that little voice that gave them the courage to try again the next day. 

It's the same with athletes. If they didn't meet their goal, or even come close, on one day, they have a new day coming and are willing to try again. Like writers, they function with determination.

We writers do need courage to keep working at our craft. Courage is necessary when beginning a new project, when submitting work to a publication, when editing and revising a first draft. We use that courage to tamp down any fears we might have. When we have a good writing time, we feel great at the end of the day. When it is the opposite, we need a quiet time to listen to that little voice that tells us to try again tomorrow. 

Finding Markets for Your Stories, Essays, and Articles

 Where should I submit my writing?

(NOTE: Looks like Google is going to keep sending my posts through August now. So, unless I find the magic button to eliminate them, you will be receiving 2 posts per day, one from Google and one from MailChimp. Sorry for the confusion on this.)

Yesterday I talked about submitting your work. Getting up the courage and actually doing it, instead of only thinking about it. Some writers have no qualms about submitting while others agonize over the process. Now for the actual process.

Let's imagine that you are ready to submit a story you wrote that has been revised and edited until you feel it is ready for the eyes of an editor. Now what? Do you look like the woman in our poster today? 

If the story is about lumberjacks in a forest setting, you don't want to send it to a magazine about preparing and serving tea in elegant fashion. If it's a story for children, your market is more limited. If it is a technical how-to article, your scope is narrower, also.

You will need to do some searching for magazines or ezines that your topic will fit. If the lumberjack story has a love angle, then search for magazines that publish that kind of story. If it is strictly an adventure story, look for a place that likes thrills and outdoor adventures. If it's got a religious angle, head for that kind of magazine. In other words, fit your story to the publication.

Where do you find publications that are open to submissions? Use your favorite search engine. You can use keywords like publishers of fiction short stories. Or narrow it down further. Or ask for writer's guidelines for fiction short stories. You'll be met with a lot of choices. Read through them and elminate the ones that you know won't work. Make a list of those that are possibilities, or bookmark them to save on your computer.

Now you have a decision to make. If the publication takes simultaneous submissions, you can send the same story to half a dozen, or only one. If you do one, then you have to wait for the acceptance or rejection. If it's a no, then you move on to the next one on your list. If you send to several and one does accept it, then it is your responsibility to let the others know that the story is no longer available. More work for you. It's your choice as to which way to go. 

Personally, I choose to go one at a time. Why? Because I had a bad experience several years ago. I sent a story to two anthologies. It was the first time I had done that. They both wanted to publish the story. The acceptances arrived only hours apart. Now what? I had to choose one, and after much soul-searching I did. Then had to write and tell the other anthology editor that I had already sold it to another. The odds of this happening are slim, but it did happen. I swore off simultaneous submissions after that. 

Years ago, writers had to purchase a book that listed publications and their guidelines on an annual basis. The book looked like the Chicago Telephone Directory in size. To purchase it annually to keep current added up to many dollars. Some writers went to their local library and used the same book there, but that also took hours of time and the making of handwritten lists. If you've never dealt with either method, you can't have a full appreciation as to the ease of finding marketing listings today. 

Use a search engine as stated above. Subscribe to newsletters that send an email with a list of markets that are current. When you go online to find listings, make sure you have the most current. 2014 guideliens and 2021 guidelines for the same publication could be very different. Ask other writers friends for recommendations. Make a list of your favorite places to sub to. 

Amd again, keep submitting on a regular basis. Do not send one story and then wait until you hear from the editor. Remember, that some editors do not respond unless they are accepting your work. Sometimes, the guidelines will tell  you that is their policy, sometimes they don't make it clear. 

When you have completed your submission process, whether via an email or by filling out a form, go back and doublecheck that you have done everything correctly according to the guidelines.. It will be to your advantage to take the time to do a check. This is especially true if you are submitting to a contest. Miss one rule, and your story will be dumped, no matter how good it might be. Some publications give few to no guidelines. I much prefere those that give a list of what they want and what they don't want. With the ones that specify nothing, you are free to do whatever you want to, but this method can also be a bit confusing.

The more you submit your work for publication, the more familiar you become with the process. If you submit to one or two places on a regular basis, you have the routine down pat. If it's someplace new to you, check and recheck before hitting the Send button.