Part of Margot Finke's of Writing for Children For Information. . . . . . + Great Links Dive Into the Children's Writing Guide!

for Great Writing Help Click the Links Below * On My Website * Information on Other Websites * Magazines & Newsletters about Writing for Children Writing Information On My Website: Go to SITE DIRECTORY: * Great CWPosts * Manuscript Critique Service Includes: *What to Aim for When Writing + * Recommended Writing Classes * SECRETS of Writing for Children includes: * Powerful Writing Tips + * Self-editing Tip Sheet + * My Website Picks + * Children's Book Catergories + * How-to Books that ROCK + * To Rhyme or Not to Rhyme ( Dori Chaconas is the master! ) *Writing Chat Includes: * Great Books on Queries + * Query Letters that Worked + * Links to Online Query Letter Information and * Lousy Rejection Letters + *Links to Writing Queries & Proposals * BEWARE Agent and Publisher Scams ** My BOOKS ** 7Book Series How to BUY - read samples - see artwork - visit illustrators! PLUS * Book Reviews * Down-Under Fun! and * Wild US Critters Where kids can learn more about the animals in my books. <><><><><> Rhyming PB's "Rattlesnake Jam" Horatio Humble Ruthie and the Hippo Mama Grizzly Bear Kangaroo Clues Young Teen Books Revenge of Thelma Hill Taconi and Claude BUY - Reviews Gran's Kitchen! (Real Rattler Recipes) * School Visit Information * My Bio Information on Other Web Sites: * "Musings" My monthly column on writing for children * Getting the Most from Your Critique Group - Heather Horricks Cliches To Die For! *The Book of Cliches + * Cliche Finder + * More Cliches Than You Can Shake a Stick At * The Rhyme Zone - a terrific online rhyming dictionary * Online Dictionary : Type in your word and get all the info you want. * This is a neat Dictionary for "urban" words in use today. * Merriam Webster's Online Dictionary and Thesaurus - free online! It lists the different versions of the word, as a noun, verb etc. Also gives links to other websites related to the word you looked up. * The Independent Publishers Group is an independent book distributor for publishers and small presses throughout the USA and worldwide." * Volunteer Literary Lawyers. (VLA) They might come in handy when contract signing looms. * Aaron Shepard's Sales Rank MultiChecker. For published authors with more than one book. With a single click, you can check the Amazon sales ranks of up to ten of your titles at once -- in either the US, Canada, or the UK -- along with the estimated shipping times. You can also check similar books to keep tabs on your competition. MultiChecker, is on Kidwriting Page - follow the link. If you have your own Web site, feel free to link to the MultiChecker page, or even to copy and paste the form into your own site. * Verla Kay has a "Response Times" section on her Website's message board for publishers. You might get a good idea of the length of time your particular publisher is taking by checking that board out. NOTE: Verla's website is a jewel not to be missed. And her books are a delight. * Booktalk Literary Agents - A to Z * Harold Underdown's "Purple Crayon" visit What's New + Resource List from his Complete Idiot's Guide + Keeping Books in Print + Harold's Blog + Who's Moving Where and Agents - This article is a must read! Anthologies Seeking Submissions: Lists anthology series looking for writers. Visit the websites for details - everything from Chicken Soup and onward! *Society of Children's Book Writers and Illustrators (SCBWI) is an organization all serious children's writers should join. + The advantages are . . . Awards & Grants - Regional Chapters - Events and more - Marketplace - access to the best writing conferences and retreats in the world and MORE! * Articles and Talks by Anna Grossnickle Hines The rest of her site is pretty neat too!       Magazines & Newsletters About Writing for Children   * The Children's Writer by The Institute of Children's Literature * The Children's Book Insider by Write 4 Kids * The Bulletin SCBWI - a monthly magazine for members * Once Upon A Time by Audrey Baird - totally delightful * Kid Magazine Writers by Jan Fields * Book Promotion Newsletter by Francine Silverman - full of great ideas. To subscribe e-mail here or visit website

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ARTICLES on THIS Page * Articles About Writing * Articles About Self-Publishing * Articles About Agents * Articles About School Visits * LINK to other "Great Articles" HERE!

 

** Articles About School Visits **

My Personal Skinny on School Visits by Margot Finke

 

Aussie Swagman cork trimmed hat and all

Okay you published writers, I know some of you shudder at the thought of standing in front of a bunch of beady-eyed kids and trying to interest them in your book. But face it, if you want to sell that sucker, and become a well known writer, beady-eyed kids are a part of the price. I know, I know! Great writing talent and phenomenal promotional skills do not always live under the same haircut.

What I am writing here comes from my own experience. 99% of school kids look at you with awe. To them you are a famous author. Just standing there impresses them. And if you go all-out, and offer them fun, giggle time, and some interesting facts to chew over, you become their hero. Teachers also love when you entertain them and their classes, but are sneaky enough to wrap the educational stuff inside the fun.

Coming dressed up as one of the characters in your book, or in the costume of the country you were born in, is also a huge plus. You don't have to dance or sing - however I do enter the class singing Waltzing Matilda, wearing a hobo hat that is cork trimmed, and carrying my "swag" on a pole over my shoulder. A frying pan and a billy for tea complete my ensemble. To say I have their attention from the get-go is an understatement.

Don't let anyone tell you that dressing up or singing, (or dancing if that fits in with your book) makes you seem unprofessional.
Hogwash! As long as the school approves your presentation, and it fits nicely with the theme and characters in your book -
GO FOR IT, MATE!

I bring aboriginal artifacts, an Aussie map, and a real live coconut I picked myself, on a far northern beach in Queensland, Australia - kids love this story. So bring artifacts, pictures, and relics that relate to your book, and tell the class about them. Leave room for the questions that will surely come. Some are so funny it is hard to keep a straight face. After a while, you realize this is fun, the kids are neat, and you are having a good time - and getting paid handsomely for it. Leave time to read at least one of your books.

I have created a fun PowerPoint Presentation, complete with sounds from the animals in my books. If you haven't seen 75 pairs of eyes grow wider than a barn door, as they listen to the screams of a Tasmanian Devil, from a story I have just read to them, then you are missing a huge treat. PowerPoint allows you to present lots of great ideas in color and movement. Kids eat it up.

If you want more in-depth School Visit details, read my April 2007 "Musings" column: "School Visits Can be Fun and Profitable." Or, go to my School Visits page and read more about what I offer each class.

My proudest moments are when I am asked to sign the Artist's Wall in a school's library.

WOW! They really do think I am a famous author!!!

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*** Articles About Writing ***
Links to more articles
at the end of this section.

What's In a Name? Harry Potter, Huckleberry Finn and, er… Hubert Gribble. by Jill Mc Dougall

Jill Mc Dougall is the Aussie author of over a hundred books for children. With that track record, she knows a thing or two about choosing terrific names for characters, and about writing for kids. Visit her website to find more writing tips.

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Remember that dashing manly hero in Gone with the Wind? What was his name again? Of course - Rhett Butler. How could anyone forget? But what if Margaret Mitchell had named her handsome hero something entirely different - Percy Sprong for example. Or Hubert Gribble? Would you still feel the same way about him?

And what if Scarlett O'Hara had been Enid Snirke or Maisie Brittlebanger?

Names convey rhythm and flavour and shape. They evoke memories and awaken our senses. They roll round our tongue a certain way. Names affect how the reader responds to a character. Here are important points you need to consider when choosing characters' names:

Don't Confuse Your Reader

When I was seven, I was given a book that featured twin sisters. The good sensible twin was called Molly. The naughty one was Polly. Or was it the other way round? I could never remember which twin was which because keeping track of them was a mental chore. I have no idea what happened to Molly and Polly because I never made it past chapter one.

Rhyming names are a problem because they look and sound too similar. Names with the same beginning letter (Penny, Mr Poulson, Dr Paul) pose a similar problem. So do names with similar endings (Cassie, Bonnie, Flossie.)

Don't forget that the reader hasn't lived with these characters as long as you have and any techniques you use to aid character identification will be appreciated.

Keep it Simple

If you choose names that are difficult to pronounce, you create distance between reader and character. If you are convinced that Phiponoughlier is the only possible name for your mad scientist, then introduce the name once and then provide a nickname: "Please call me Phip."

Reflect the Culture

Most Western societies are multi-cultural. Add authenticity and an inclusive feel to your work, by reflecting this cultural diversity in your characters' names. Educational publishers, in particular, will look kindly upon the inclusion of a range of characters with names that are easy to pronounce.

The website http://www.babyzone.com has lists of baby names by category including nationality.

Fun With Names

Science fiction and fantasy writers can have a lot of fun with character's names. When creating a whole new world, you want your names to sound different from mere earthly humanoids, but not too different.

Some writers select common names and then change a single letter to create something new. For example:

David becomes Dafid - Amelia becomes Amelira
Names can also reflect the characteristics of an entire race. A preponderance of vowels in a name suggests an ethereal quality and would suit fairies or elves. Try taking a common name of three syllables and swapping some of the consonants for vowels. Thus:

Samantha becomes Eamantia - Jeremy becomes Aeriemy
On the other hand, names with extra consonants sound heavier. Metallic robotic creatures may have a number of hard consonants in their names such as Broddon or Robard, help your reader keep track of characters in a complex plot.

Add Power to Your Picture Book

Names in picture books should be chosen with special care since each precious word must convey tone and atmosphere. For example, the name Digby evokes the slow rumbling movements of a heavy creature. Just perfect for a wombat.

On the other hand, Mirette evokes a certain lightness and agility. Just right for an acrobat.

Jane Covernton , the editor at Working Title Press, suggests that if you can't possibly change your character's name, then it's probably the right one.

Make Your Characters' Memorable

Who can forget that Professor Sprout teaches Herbology at Hogwart's School or that Moaning Myrtle is a ghost? And remember Mr Plod the policeman in the Noddy books?

The names of marginal characters are just as important as that of the prima donna who hogs centre stage. In fact, you can be a little sillier and more creative in naming your bit part characters. An appropriate name helps your reader remember who is who, especially if these peripheral characters flit in and out of your story.

One trick is to make a list of the personality traits of your character. If that wacky teacher is the nervous type, write down all the words that characterise this behaviour. Your list might include: fidgety, flustered, twitchy, jittery, jumpy.

Then play around with these words to come up with colourful combinations …
Titch E Finglet perhaps, or Fidge Jigglebottom.

Roald Dahl had a lot of fun choosing appropriate names for his secondary characters. Augustus Gloop is a particularly gluttonous child, Aunt Spiker is mean and vindictive and Headmistress Trunchbull rampages through the school creating havoc.

Choose Names to Create a Catchy Title

I once changed a character's name from Jenna to Jess so that I could call my story Don't Mess with Jess and my short story Smart Alec began with the title.

Catchy titles sell books and character's names can be chosen to give your title that extra edge. You can have a lot of fun coming up with good title/name combinations.

Collect Fascinating Names

I have a notebook solely devoted to my collection of names. In it, I find that memorable cats have been called Rug, Mr Blister, Fibble and Kitten Kaboodle.

A dog was named Handyman because he did little jobs around the house. A friend named his pet crow Stone - as in Stone the crow. A local criminal called Dave Granger was known to his friends as Grave Danger.

Interesting names are found everywhere - on street signs, in song lyrics and CD titles, in the 'hatches, matches and dispatches' section of the newspaper. Absolutely everywhere. Half the fun is finding a good one and then inventing a character to go with it.

So … what's in a name?

Next time you are considering naming your dashing hero Claude Clodwamble or your prissy school teacher Madam Slambunger, remember the familiar Shakespearian question, "What's in a name?'

The answer? Plenty.

CLICK HERE
for another Jill McDougle article on crafting a gripping story.

 

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What I Look For When I critique Your Picture Book by Margot Finke

Some thoughts from ME about what I look for when critiquing a picture book:

When I critique PBs, I look for the following: but mostly, I give personal guidance. I do this by offering examples, explanations, and suggestions.

Tight writing:
This means not using ten words when three or four will do the trick. Aim for less than 1,000 words - the younger the child the fewer the words.Think actions and reactions:
Telling is a big yawn. Go for actions, reactions and dialogue. Strong
verbs are needed.Word choice:
Appropriate for the age, new and fresh.

Verbs:
Powerful active verbs that show actions and reactions. (Strong verbs are a
PB writer's best friend)

Adjectives:
Evocative, whimsical, and fun. One terrific adjective does the trick!

Adverbs: Occasional use only -- make sure it is not there to prop up a ho-hum verb.

Qualifiers:Most of these pesky and unnecessary words can be ruthlessly pruned.Getting to the point:
Introduction of characters & the setting. Yiikes, where is the conflict,
plot, or reason for this story? Look for a tidy and satisfactory
conclusion. Unnecessary details can balloon what should be a 500 word story
into a 1,500 word marathon. Readers get lost in a jungle of words!

Think illustrations:
Look for an even distribution of terrific illustration opportunities. The
writer and the artist are a team that compliment each other. The writer
leaves word clues, which the artist interprets, filling the illustrationswith marvelous details.

Painting with words:
Great PB writers paint word pictures. Choose each word with care. The aim
is to say a lot with only a few words. "Less is more!"

Lyrical flow:
Look for a smooth story flow. It does not have to be poetry to have a
lyrical feel. Characters and plot appear real and effortless.

Kid appeal:
Always think KID. Does the story have kid appeal? Will kids want it read
to them, over and over? Will kids identify with and root for the main
characters? Does it feel right?

Link to Margot's Critique Service page
or E-MAIL her @ mfinke at frontier dot com



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Seventeen Minds Trying to Catch Up With One A Checklist to Help Us Critique Our Own Manuscripts

Compiled by Jane Yolen's Centrum '81 Students
Edited by Anna Grossnickle Hines
SCBWI Bulletin 1981

Note: In the first workshop I took with Jane Yolen these are the comments and questions that came up over and over as she helped us with out manuscripts. At the end of the workshop the seventeen of us sat down together and made this list. You may find it helpful to apply them to your own work.

THE MOST COMMON PROBLEMS: WATCH OUT FOR THESE!

Do the children have power in their own behalf? Do they solve their own problems?

Does the story really start where it starts?

Are the problems solved too easily?

Is the point of view consistent?

Have you tried to do half a dozen things in one story?

Have you used cliches rather than sharp language?

Does the story say what you want it to say?

Have you done too much describing and narrating rather than using action and dialogue?
Show me, don't tell me!

Does everything in the story work or is it cluttered with unnecessary details? Are your characters solid?

SUGGESTIONS:

Read your story aloud, into a tape recorder if possible, and listen carefully for things that don't work.

Instead of asking, "Is this good enough?", ask, "Is there any way this can possibly be made better?"

"Children's books change lives. Stories pour into the hearts of children and help make them what they become." -Jane Yolen

GENERAL THINGS TO CONSIDER:

Does your story have a theme? Note: The theme is what your book is about. Plot is how you get there.

Does the story fit the format or type of book you are writing?

Is it appropriate for the age level?

Is the way you are telling the story related to what you have to say?

Does your story have something new to say or does it say something old with a fresh viewpoint or in a new way? You need the eyes and ears of the child, coming fresh to things.

Does it have the kind of toughness that children have and need, or is it sweet and sappy?
Children have to overcome a lot because everything is harder for them.

Does it have sentiment (heart) or just sentimentality?

Are you being condescending, talking down to the child? Are you unconsciously trying to do more than one story at the same time?

Are you mixing two or more different styles?
Are you mixing a realistic story and fantasy?
Are you mixing expository non-fiction and an emotional story?

Are you trying to cover too long a time span or too much material in one book?

Do you let your story carry itself or do you try to teach?

Does everything in the book ultimately focus on the same point and work on all levels.
No red herrings except in mysteries.

STYLE: Have you used language economically?
Is the story told in a simple, direct way or is it cluttered with things that don't work?

Are you comfortable with the language?
Are you fluent enough with the style to use it well?

Does the style match the material?

Have you used cliches or good, crisp images?
Avoid the predictable.

Is your language sharp, creating clear images?
i.e.: Use shuffle, tiptoe or stomp rather than walk.

Have you used good, strong nouns and verbs and avoided superfluous adjectives?
If you have two adjectives, take one out and think very seriously about the other one.

Have you repeated something unnecessarily?
If you have shown something through action or dialogue, you don't also have to describe it.

Do you over-use particular words and phrases?
i.e.: he said, she said.

Have you used vivid sensory words and images throughout your story?

Do you have a variety of sentence lengths and structures?

Do you over-use "ing" words?
ie: Told is stronger than was telling.

Do the transitions from one thought or event to the next work or are they jarring? Do you use narration where dialogue and action would carry your story better?

POINT OF VIEW:

Have you chosen the best point of view for this story? If it's concerned with the emotions of one particular character, try first person. If you need the descriptions and information that first person forces you to leave out, stick to third.

CHARACTERIZATION:

Does the language of a character help reveal something about him or her?
Is it appropriate and consistent throughout? Have you given the character any words he or she would not use?

Are all the characters in the story necessary?
Are they all developed as much as they need to be?
Are your characters solid and full-bodied?
Do you really know them?
Even in simple stories, have you given the reader a way to identify them?
Have you revealed them to the reader through the use of ...
physical appearance? No mirrors, please!
gesture and. mannerisms?
dress? actions and reactions?
dialogue?

Are they stereotypes?

Are the names just exactly right?

Is your villain, if there is one, as strong and real as your hero?

Does the main character grow or change through the course of the story?

Have you kept introspection to a minimum and shown the emotions through the actions, reactions and dialogue that keep the story moving?

Is there an emotional range with high highs and low lows or just a boring gray?

PLOT:

Do you have a plot or just a series of incidents? Do you get your character up the tree so he has to come back down, or does he just come to the tree and walk away without anything really happening?

Does the plot build appropriately or just meander?

What is the problem to be solved or explored in the book?

Do you get right to it in the beginning?

Do you begin at the beginning? Start with the action?

Does the story keep alive with the suspense, the curiosity to know what happened next?

Do you have cliff hangers at the ends of the first few chapters to get the reader hooked into reading further?Does the child face and solve, or at least help to solve, his own problem?

FANTASY:

Do you believe in it yourself?

Does it have its own logic and have you followed it consistently?

If there is magic, does it have consequences? Is it tough magic?

Does the hero have honesty, courage, goodness and love?

Is his problem or foe big and tough and evil?

Is there a sense of justice?

Does the hero have to make fateful, heart wrenching decisions?

Does it have an appropriate style?
Is it poetic where it needs to be poetic?
Does it have the feeling of the old high language, if it's that sort of tale?
Does it make use of work plays, puns and jokes?

REALISTIC NOVELS:

Is your story based on an emotional involvement rather than a "hot subject"?

Do you really deal with the character and not just the problem?

Do you offer some direction or ray of hope or just expose a problem, rubbing the wounds raw?

Would you feel comfortable with your own young child reading the book?
If not, can you change it so that you would be and still have it work?

NON-FICTION:

Does the book open the child to something new or tell him something he or she vitally wants to know?

Is it accurate?

Is it clear? ie: without jargon or terminal cute-less.

Is it complete within the realm of what you're trying to do?

Is it written with movement, style and wit?

Does it speak to the child's sense of wonder rather than being pedantic?

Does it lead the child on to other discoveries?

PICTURE BOOKS:

Does the story deal with one simple concept or story line?

Are there enough and appropriately spaced visual images to illustrate?

Will it fit into the format of a 32-page book?

Is the language bare-boned and economical but still full of style?

For serious writers, the question isn't, "Is my story good enough?" A better question is, "Is there any way I can make it better?" These questions can help you answer that question.

NOTE FOR READERS:

If you want to write for children, Anna Grossnickle Hine's column, "Articles & Talks," should be read and re-read. Her site also holds fascinating remembrances of her climb to published author - and beyond! Go and share her joys and fears. Go with her as she learns the writing ropes. Her memories of "getting there" are full of darn good advice and a pleasure to read.

The rest of her website is pretty neat too!

 

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Grammar Made Easy by Jan Fields.

This clear Grammar Explanation comes from Jan Fields - Kid Writers Magazine, CW member and moderator.

Gerunds and participles work because (in the hands of a talented writer) they add spice and interest to a sentence. They can sometimes be a bit attention getting and if used poorly they can be wordy but there is nothing passive about them.

Passive is a voice that occurs only with transitive verbs and occurs only when the subject of the sentence isn't doing anything in the sentence and is being "done to" instead:

"My dog was shot." <-- passive
"Someone shot my dog." <-- active but weakened by the addition of a indefinite pronoun that is not defined. Adding a weak subject never strengthens a sentence.

Many people have condemned passive voice. The "evil" of passive is that it can be draggy and wordy. The construction itself is no worse than any other. I have seen people become so frightened of passive voice that they will change a strong sentence in passive voice into a weak sentence using indefinite pronouns just to avoid passive voice.

Writers are best served to dump all of these "evil construction" rules and simply judge writing on a sentence by sentence basis. Does the sentence drag? It is awkward? Is it wordy and to convoluted for the reader? If we change every sentence to a direct active indicative construction with no stray clauses or unusual forms, you'll end up with writing that is too harsh and too similar. That's dull too and a lot of newer children'swriters are wrecking their own voice by trying to do it.

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TO
*** Read More Great Articles About Writing ***

CLICK HERE

THEY INCLUDE THE FOLLOWING:

* Verbs Rule
by Margot Finke

<><><><><><><><>

A Second Article:
* Three Simple Steps to a Gripping Story
by Jill McDougall

<><><><><><><><>

3 Terrific Articles
by Suzanne Lieurance

* Top Ten Writing Mistakes Made By New Children's Writers

* A Hard Look at Easy Readers

* Six Simple Ways to Make the Most of Any Writing Workshop or Writing Class

<><><><><><><><>

4 Great Articles
by Multi-published Writer
Holly Lisle

* Ten Steps to Finding Your Writing Voice

* A Little Bit of Me, A Little Bit of You
Our Lives as Fiction Fodder

* Dealing With Your Family

* How to Tell Who WON'T Make It in Writing (and How Not to Be That Writer)

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*** Articles About Agents ***

Note to readers about Simon Hayes 2 articles on
Self Publishing and Agents.

I came across Simon Hayne's website, and the following two articles of his, when I went looking for Manuscript Tracking Software. Someone recommended I check out his Sonar2. I ended up downloading Sonar2 and taking the time to browse around his enlightening website. That's where I found these two succinct, down-to-earth articles, one on finding an agent, and the other on self publishing - some of the best I have ever read.

The rest of his site is well worth browsing through too - especially his free software.

DISCLAIMER: Simon tells me that ALL his articles are organic and frequently tweaked. So, if you want to make sure you are reading the latest version click here.