I warned you in my last post, didn’t I? Writing a young children’s story can be more difficult than writing a story for an older audience. The previous post focused on the basics of young children’s story writing. This post concentrates on the musical quality, that is, the sound of the story. Certain literary devices, such as rhyme, alliteration, and rhythm, can make a solid story truly delightful to read aloud.
The magic of a young children’s story is often found in its sound.
In many ways, writing a story for young children can be more difficult than writing for an older crowd. Not only do you need to restrict your word count, but you also need to use fairly basic language and find your inner child. If that weren’t enough, you have to make sure that the prose sounds pretty. The task is not insurmountable, though–just challenging! Follow these tips, and you will be on the road to success.
Requirements are high for the discerning audience.
The relationship between a writer and an editor is precious; you are trusting us with your thoughts, ideas, and creative style. You are counting on us to find the missteps, improve the structure, and offer a solid evaluation. As with any relationship, incorrect assumptions–from the writer or the editor–can result in disappointment at best, and catastrophe at worst. In contrast, knowing the expectations can lead to a smooth, advantageous relationship.
The right expectations can lead to a satisfying relationship.
Five dollars per month will grant me access to all of the articles on Beacon Reader. Five dollars! An argument has been made that people can access many online articles for free, and shouldn’t have to pay for this service. I suppose that a brief recitation of the facts might be considered a service, but true journalism, that which involves research, perseverance, and style, is not a service; it’s a craft. Why are people willing to invest hundreds of dollars into the latest communication devices, but unwilling to invest five dollars to support informative journalism?
A monthly fee is not going to turn me away. I think a little exploration is in order.
No matter the format, journalism is journalism.
Commas: we either love them or hate them. Unfortunately, comma use is not a ‘take it or leave it’ issue. Although some people would love to litter their sentences incessantly with commas and others would love to never see a comma again, accurate writers do not usually have the luxury of choice. Commas serve specific purposes; to disregard those grammatical purposes for the pleasure of our personal desires only invites confusion.
The comma battle–it doesn’t have to be like this!
To cite or not to cite? That is the question. (Or something like that!) Many people feel that citing too much makes the paper look like a cut-and-paste. Others feel that citing too little takes the research out of research paper. The real question here should not be how much or how little to cite. Instead, ask yourself when you should cite. Are you actually citing everything you should be? If not, toil and trouble might be in your future!
Don’t be a copycat!
Whether they love to love them or love to hate them, readers connect to characters. If you want your fiction to shine, your characters must be believable. You can’t accomplish this while you’re writing, though; you have to do some homework first! Before you start writing a novel or short story, you need to know your main characters through and through. I’m not referring to the basics: good guy or bad guy, hair color, best friend, goal in life, and so forth. That’s just fluff. You should know where your character has been, and why he does what he does. If you take the time to know your characters on a very real level, that intimacy and depth will show in your writing.
Get to know your character. Continue Reading
Write what you know—we’ve all heard this advice, for good reason. Some people are able to write helpful how-to books that provide needed guidance for readers. Others write memoirs that captivate audiences. What they knew was useful and enticing.
Regarding novels, however, sometimes a writer’s knowledge base, although fascinating to some, does not draw a large audience. In that case, the what you know theory can lead authors down one of two unfortunate paths: the path of failure or the path of fear. The first path is taken by the person who adheres to this advice completely. This person writes a novel filled with information about something she knows. Sadly, that “something” does not interest anyone. When the agencies do not reply or the self-publishing sales are non-existent, this author is baffled. “What happened?” the author might wonder. “I followed the advice; I wrote about what I know.” The other path is taken by the person who is fearful of the failure path. This person is fully aware that writing about what she knows would lead to a boring book that no one would want to buy. So she does nothing at all.
Sometimes what we know seems rather mundane.
It doesn’t have to end this way! With some adjustments, these misguided writers could journey down a new path, the path of a successful storyteller. Continue Reading
You have done your research, created a solid outline, and written an impressive draft. The information is solid, the organization clear. And yet, something’s not quite right. Deep down, you know what is missing. Living by the familiar expression, “If I don’t see them, they don’t exist,” you have convinced yourself that, if you don’t write it, it isn’t necessary.
Don’t live in fear of the big bad concluding sentence. Your time and effort deserve more than a highly organized list of facts. You need to bring your writing full circle and wrap up those loose ends. You need to write effective closing sentences.
Concluding sentences are like book ends. Continue Reading