Author MargotFinke

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Before you write anything an editor might consider, you need to know the basics of writing - and then some! After you have the basics under your belt, there comes voice, plot, POV and more. And picture books, early chapter books, rhyme - a whole other ball game, mates.

Get a head start on the craft of writing for children, by reading the"How To" books I list below. These all come with recommendations from writers who are happy to let me quote their words of approval.

Joelle Anthony
I still go back and look stuff up in "Writing for Children & Teenagers,"by Lee Wyndham. It came with my ICL course years and years ago.

Jane Buchanan wrote on the CW list:

I still think the best book on how to write for children specifically is Jane Yolen's "Writing Books For Children," but it's sadly out of print. And, of course, there's Elaine Alphin's "Creating Characters Kids Will Love."

Some other favorites are: Ursula Le Guin's "Steering the Craft." (or any of her other
books on writing); Annie Dillard's "The Writing Life;" Carol Bly's "The Passionate Accurate Story;" Ben Yagoda's "The Sound on the Page;" Stephen King's "On Writing;" E.M. Forster's "Aspects of the Novel;" and "Aristotle's Poetics."

Gail Martini-Petersonr recommends: Nancy Lamb's, "Crafting Stories for Children."

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Shelley also wrote: "I'm reading Nancy Lamb's book now. She was private critique faculty member at the Big Sur conference...I thought she was fantastic and I'm really
enjoying her book."

Amy Thomas's: top recommendation is: "The Elements of Style" by William Strunk, Jr., andE.B. White. Now in it's fourth edition, it is just as valid today as it was when I first read it in journalism school. In 105 pages, this book practices what it preaches about concise speech.

Deb Bailey has a few key books that helped her. She writes: "I have dog-eared the pages, put Post-It notes all over them, highlighted them, often in two or three colors, and even RE-HIGHLIGHTED things in them, when the original highlighting faded."

*Books 1-3 helped me FINALLY understand that a story is not just plot and character, not just a bunch of exciting things happening to a character. They helped me fully understand that the surface plot action is merely the tool/pathway for revealing the PREMISE of a story. Premise was what I was missing. Without that, a story lacks soul and meaning. You can have all these exciting things happening, but if there's no meaning, no why, what's the point.

*Books 2 and 3 also do a great job of explaining all the story elements clearly, crisply and with good examples. Trouble on 2 and 3, they may not be in print anymore, but I think used copies may be around.

*Books 4 and 5 have just played off of what I started learning in 2 and 3, deeper understandings of conflict, character, how to actually structure a story, pace it, set up scenes and weave all of these together.

While most of these are not "writing for children" per se, they are invaluable to me in learning how to write a good story, and ultimately, it's the same thing.

Bobbi Miller likes:Marion Dane Bauer's "What's Your Story." She writes: "I used this textbook in my undergraduate/graduate writing course for children. Although it is written for young people, the presentation -- and information makes it - in my opinion -- one of the best 'technique' books out there."

Lea Wait writes: "My favorite book for writers is The Writer's Journey: Mythic Structure for Storytellers & Screenwriters, by Christopher Vogler. Although the title makes it sound intimidating, Vogler has analyzed the plots of many books and movies (most of them ones
readers are very familiar with) and found that in most successful plots the hero or heroine follows the same pattern of challenges, defeats, and final achievement. Vogler cuts through the verbose theories in a lot of other books and gives clear structures that work in an amazing variety of contexts. I have used plot elements from The Writer's Journey in all of my works, both for children and adults. Highly recommended." http://www.leawait.com

Bev Cooke writes: "I don't use a "children's writing" book per se. I read books on writing, and apply what works for writers in general to my children's work My favorites, bar none, is: A Passion for Narrative, by Jack Hodgkins, published by McLelland and Stewart - he's Canadian and actually is related to a good friend of mine His book is packed with exercises and information on writing and craft One of the best parts of the book, for me, is that he introduces elements of the "literary" style into his exercises and chapters, but in an unobtrusive and simple way. He shows you, without being pretentious or snobbishly "literary" how to deepen and layer your work. In addition, he builds from one chapter to the next, so that instead of exercises that are always disconnected bits of writing, he will start you on a piece of writing and carry that work forward through the chapters, so you can see the work develop as you would with your own writing. There are isolated exercises, of course, but one of the strengths of the book, in my opinion, is that you can see how a piece will build and improve while working on specific sections, like character or setting or dialogue.

Another one I read and reread and love - Stephen King's "On Writing" published by Pocket Books. I'm a King fan, so the autobiographical stuff was fascinating, all by itself. The writing half was great. I read it and want to go write. I like his descriptions and the way in which he talks about the craft as a "toolbox" and what the toolbox should contain, and what we need to know in order to master our craft. It made my fingers itch to connect with my keyboard, which is my definition of a successful writer's book.

Specifically kids writing books: The Writer's Guide to Crafting Stories for Children by Nancy Lamb. Writer's Digest Books. I rely heavily on it for putting together my
courses on children's writing. It's logically organized, easy and engaging to read, and the exercises are terrific.

Two last ones: Bird by Bird by Anne Lamott. It's not a "how-to" - but more a series of meditations on writing and the writing life - and it too, makes my fingers itch.

Becoming a Writer, by Dorothea Brandt. It's out of print, now, unfortunately, but it's brought back every once in a while. Another book on "being" a writer, as opposed to how to write - but it also makes me want to rush off and write.

I said that any book that makes my fingers itch is a successful writer's book for me. That's because the *only* way to master our craft is to practice it - and if the book makes me go and write, then it's successful. It's all very well to do the exercises, but to succeed in this business, you have to be passionate, and for me that's the key - if the book I'm reading makes me want to go off and write, then it makes me passionate. It's one I'll read and reread and wear out so that I do go off and write and improve my craft.

Steve Lyon wrote: "An essay by Ursula Le Guin.gave me a great deal of help when writing my novel, The Gift Moves (Houghton Mifflin 2004) The essay, Towards an Archaeology of the Future, appears at the beginning of her 1985 novel, Always Coming Home. It is set in Northern California about forty thousand years from now, and deals with how to find people who won't be born for years upon years. Toward the end of the essay she muses about Heinrich Schliemann, the nineteenth-century discoverer and excavator of Troy." Excerpt follows:

"I had no baby to bring with me. But I could try and lose the adult part of myself,

the part that needs to know what comes next, the part that fits things into their order and place. I could try to listen instead. Her words were a big help to me."

Elizabeth Dulemba wrote: "The Golden Book, "Treasury of Elves and Fairies," and is my "Bible" for illustrating picture books. It is delightfully illustrated by Garth Williams. And "dog eared" is right! The book originally came out in 1951 by Simon and Schuster. The copy I have was my mother's when she was a child. The illustrations are so lush - to this day I'm not sure I've read all the stories. But the binding is falling apart from staring at the illustrations too much. I attribute to it my initial inspiration about creating children's books. So, from an illustrator's perspective, it is definitely my "bible." Reprinted in 1999, as far as I know it is available from Amazon.com "

Ann Harth writes: "My favorite writing book of all time is "On Writing," by Stephen King. Every time I read it I find a new morsel of wisdom. I've always liked Stephen King as an author, not necessarily for his obsession with the horror genre but for the way he can make me see, hear, smell and feel the places he writes about. His characters are completely real and he can make even the most bizarre situations believable. In my opinion, this is good writing. On Writing takes a conversational, practical and humorous approach to the technicalities of writing. It's as readable as one of his novels. This book has already been mentioned by Bev, but it really is my writing bible."

Pam Beres writes: "My two favorites are "Story Sparkers" by Debbie Dadey and Marcia Thornton Jones, and "Creating Characters Kids Will Love," by Elaine Marie Alphin. I couldn't put my finger on why they were my favorites until I read Bev's comment that a good how-to book makes your fingers itch. That's what these books do for me. I never read more than a few pages before I'm tossing them aside and running to my computer."

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Andria Warmflash Rosenbaum highly recommends Lee Bennett Hopkins fabulous book called "Pass the Poetry Please." If you are looking for a book that tells you what you might need to know before beginning to write poetry for children, the question is answered by many of the children's poets this author interviewed. Well worth the read!

The following writing advice is either my own, or gathered over many years from fellow writers or unknown sources. If any of the original authors come to light, I would be happy to give attribution and great praise.

 

Self-editing Tip Sheet Visit my "Critique Service" Professional critiques polish manuscripts. Read my archived "Musings" columns for step-by-step writing help.

 

INSTEAD: Often unnecessary. It's a given that he didn't land on the chair if he landed on the floor.
*He'd land on the floor instead of the chair.
*He'd land on the floor.

SUDDENLY: Seldom needed. If it's the next action, writing it as such often eliminates the
need for the word.
*Suddenly the bull lurched forward.
*The bull lurched forward.

All readers (editors & agents included) love to learn as they read. Whenever possible, place your action in a setting that treats your readers to a locale about which they know very little. A dairy farm, a secret intelligence agency, a coalmine, even another time in history are all settings that have the potential to transport readers to new worlds. It's no secret that the success of medical and legal thrillers is due in large part to their "settings" (we all love to learn about the inner workings of hospitals and courtrooms.) Readers love to learn, so choose settings that teach.

Regardless of what type of manuscript you're writing, scenes that "drag" are the kiss of death. Often, dull scenes are the result of elaborate setups and wind-downs -- extra commentary before and after the critical event. You often hear successful authors and screenwriters quote the mantra, "In late, out early." This simply means that they open their scenes as late into the action as possible and close their scenes as early as possible (often before the action has even concluded.) If you have a scene that seems to drag, try trimming from the beginning and the end rather than the middle.

The best manuscripts have a single dramatic question: Will Ahab catch the whale? Will the Jackal kill his target? Will the young lawyer escape the corrupt law firm that hired him? The twists and turns in your novel can (and should!) be intricate, but your foundation needs to have a sole, central conflict around which all the action revolves. A good way to test your manuscript is to synopsize your plot in a single sentence. Can you do it?

Once you've researched the "specifics" of your novel, there is an overwhelming urge not to let any of it go to waste. Be careful. Long dry passages of description are a turnoff to readers and agents alike. Remember, we read novels to find out what happens to characters (if we want to read a five-page description of New Delhi, we buy a travel guide.) whenever possible, intersperse your factual description with action and dialog. Better yet, have your characters interacting with your description, that is, let your characters see, smell, and taste your specifics.

CONFLICT: The protagonist needs to be in conflict with something or someone for the story to grip a reader. Have some problem that bothers, or gnaws, or leads to trouble. The hero/heroine gets to solve the problem over the course of the story. The solving is the meat in your story.

DIALOGUE: Kids like realistic fast action dialog. It brings things up close and personal. Try for a good hook at the beginning of the story - in the first paragraph. Get to the POINT of the story ASAP, because young kids have short attention spans. You will not hold their attention if the story wanders from the main point. Read lots of rhyming books in the age you are planning to write. Ask your librarian for guidance about what to choose.

We've all heard of the four C's of diamond buying, but writing suspenseful fiction has some C's of its own. Here are three elements that your favorite authors invariably employ in their manuscripts to infuse their stories with extra pace and tension.

 

THE CLOCK: Placing your action in the shadow of a ticking clock. Nothing intensifies dramatic tension like time pressure.. a fixed window of opportunity after which all is lost. In some genres the time pressure literally can be a ticking bomb (a la James Bond), but more subtle ways exist to apply time pressure. Bridges of Madison County is a good example. In Bridges, the heroine must make a major life decision before her family returns from vacation in three days. (If she'd had the rest of her life to make the decision, the story would have been dull.) Time pressure forces your characters to take action.

THE CRUCIBLE: Constraining your characters as you apply the heat. A crucible is defined in Webster's as "an enclosed vessel used for melting materials at high temperatures." Whenever possible, place your characters in a crucible. Lock them in to that when you turn up the heat, they do not have the option of running away. In other words, tie our characters' hands and force them to become resourceful in finding a solution to whatever challenges you put before them. Peter Benchley created a brilliant crucible for his characters in the final scene of Jaws. He placed them on a sinking boat... with the radio blown out... miles from shore... the shark closing in. Even if his characters wanted to run, they could not. They were constrained. The ocean was their crucible.

 

THE CONTRACT: Making promises to your reader, and then keeping them. Good writers create tension by filling the pages of their novels with "promises" to their readers. For example, if an author makes ominous mention of a loaded shotgun in the closet, the reader perceives this as a contract with the author: If I keep reading, that shotgun will be used. This promise serves as foreshadowing and creates tension. When will the gun be used? Against whom? Promises can work on more subtle levels too. By describing a gathering storm outside a character's window (and doing it in just the right way) you can promise your reader that tough times lay ahead for this poor soul. Again tension. Remember, though, once you make your reader a promise, you better deliver...

 

2) IN-AND-OUT SCENE BUILDING:
Do my scenes start late and end early? Does my plot keep moving? Can I trim excess fat from lead-ins and wrap-ups?

3) DRAMATIC QUESTION:
Is the fundamental question driving the action a simple one? Can my plot be summed up in a single sentence?

5) RESEARCH:
Do I know enough about my topic to write a manuscript filled with specifics? What (specifically)
will my reader learn?

6) WEAVING INFORMATION:
Is my background information "woven" into my story, or does it occur in long blocks of description?

7) REVISION:
Have I reworked my manuscript many times? Have others read it and offered criticism? Have I tightened dull scenes? Have I seasoned the stew?

Somewhere along the way, revision got a bad reputation. Many aspiring writers dread reworking their manuscripts and therefore don't do it. Few of these writers will ever be published. Revision is not only absolutely crucial to the success of your manuscripts, it can be the most enjoyable part of writing. When you are finally ready to revise, you have already done the bulk of the hard work; most of your ideas are in place, and all that is left is reshuffling ideas, cutting superfluous chatter, trimming the fat, and making all your hard work shine. Revision is like seasoning a stew... savoring what works and spicing up what doesn't. Enjoy the process. Remember, when this manuscript is done, you will be back at page one of your next project.

Jill Ronsley's - SUN - Editing and Book Design.

Jill works as a freelancer for small and medium publishing companies and for individuals.
Many of the books she work on are children's books, including picture books, short chapter books and MG/YA novels. Some have won awards (such as the Benjamin Franklin, Foreword Magazine Award, and the Dove Family Seal of Approval). Jill also does book design for publishers, including children's book publishers.

Margot Finke'sWorld of Writing for Children

My Books, DOWN-UNDER Fun or WILD US CRITTERS. My Critique Service - personal guidance at reasonable fees. Check out Secrets of Writing For Children for Self-Editing and great Writing Tips.
Link to "Musings," my columns on writing for children
E-mail me - mfinke at frontier dot com
We can chat about the writing secrets you want to learn!

Jan Field's WebSite

Get her terrific "Nuts & Bolts & Magic Wands." This covers children's writing from A to Z -- her style makes learning fun. Jan is one of the CW moderators who keeps us in line, and cools down any ruffled feathers. Jan's World of Writing offers writing great advice and is much appreciated. Her online "Kid Writer" Magazine gives help, interviews, and suggestions to those who write for magazines.

Anastasia Suen's Website
This wonderful writer's website is full of lessons to be learned - If you want to write for children, visit her Intensive Picture Book Workshop.

The Purple Crayon - Harold Underdown's Website

For writers of children's books. His advice, books on writing, and links to other great writing sites, can not be beaten. Absorb the wisdom and plain facts he offers. Also track Editorial Staff Changes at children's book publishers.

CBC (Children's Book Council)
A great site, full of information about writing, authors, books and publishing.

Writer's Market
Research Publishers. They update information regularly, including editors to contact. They have a program where you can track submissions, but it costs to join. Beats buying the market guides every year. Writer's Market also has a free update site. You don't have to subscribe to the magazine to get the updates.

CWIM - NOT A WEBSITE, yet very helpful. BUY the current hard cover edition. This lists
publishers, their editors & their currents needs, and information that will help you decide if a
particular publisher is right for your book.

They offer conferences in every state, lots of information, plus an extremely helpful and
experienced staff and membership. Join - it is the best way for a children's writer to spend $60.00.

This is a delightfully designed site, specifically for those who write and illustrate children's books. Helpful tutorials for writer/illustrators, and lots of links. Coming soon is News and Reviews.

Cynthia Leitich Smith - WEBSITE

Cynthia's Website is chock-full of helpful information and links to other great sites. Her books
and her insights are well worth the trip to this website.

Suzanne Lieurance's "National Writing for Children Center." - WEBSITE

Her new site has everything: from Book Reviews to Writing Classes, and everything in-between.
To give you a good idea of this site's quality, here's some text from home page:
If you sign up (free), you receive the following:
"Get Your Freelance Writing Career Off the Ground" and "Tricks of the Trade: Learn to Write for Children." Every weekday morning you'll also receive "The Morning Nudge," a few words to
inspire and motivate you to get a little writing done.

This is an interesting and quirky site. It offers wolf pups, book reviews, Mayra's books, and
great articles on aspects of writing - or not writing? PLUS: a link to the terrific book her
9 year old daughter Melisa had published.

 

Dawn Prochovnic's website offers a "Sign Language Workshops for Kids." Check her links (on the left) to read about Benefits - Workshops - Success Stories - and more.

Amy Thomas has a neat website that offers good links and other writing information.

Michael Orwick artist & illustrator. One click opens each of his thumbnail pictures into a gallery of interesting and delightful artwork. Well worth surfing.

Linda Jo Martin offers a Weblog, Links, a NEW Homeschoolers Literary Journal, Literature For Kids, and her Web Design site, "Klamath Design." There is much more. Go visit: it is a trip worth taking.

Yvonne Ventresca wrote the book, "Publishing," about the ins-and-outs of the publishing game today: What's it like to have a career in book publishing? Here's an inside look at the role of writers, literary agents, book editors, designers, and sales people in this field. Publishing explores what each job entails, the required skills, and some suggested preparation for each of these careers. Although intended for a middle grade audience, this latest book in Lucent's "Careers for the Twenty-First Century" series will also be of value to others interested in the book publishing industry. If you want to be a writer, check out her website's links and great advice.

April Robins offers books, fun, many great links, and lots to interest children's writrs.

 

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