Why Every Author Needs To Update Their Editing Skills

 

 

Why Every Author Needs to Know Editing

 

By Carolyn Howard-Johnson

Author of The Frugal Editor: Do-It-Yourself Editing
Now In Its Third Edition

 

Last month I contributed an article “Ten Easy Ways to Keep Dialogue Sharp
to this #WritersontheMove blog with a promise to give authors reasons why
they need to know all the editing skills they can work into their busy writing 
schedule including those for writing dialogue that I covered last week. I hoped to entice
even nonfiction writers who don’t often use dialogue to start using
it. Even newspapers that once

demanded strict "who, how, were, and why leads”
 now include anecdotes in their front-page stories!

 

It surprises people when they learn that grammar rules change over time. Or that what they learned in high school or advanced grammar classes in college is either passé or may not apply to fiction. It also surprises them to learn that a perfectly edited book is never perfect because there are always so many disagreements among experts. And even experts are often misinformed. The worlds of grammar and style choices are filled with myths and misinformation like, “Never use contractions in your writing,” “Never use fragments,” and “Never end a sentence with a preposition.” Further, as my client base grew, I kept running into common misconceptions and outright annoying style choices that would never fly in the publishing world. Thus, a new edition of The Frugal Editor was a must! And, thus, I keep battling decades old misinformation about editing—especially among newer authors. 

 

But what about authors who can proudly point to decades of publishing? Well, sometimes they suffer a little hubris. They think they have done well without worrying about spending time on what they know from high school grammar classes. and therefore already know. So we’ll start off with a smattering of what is new in my The Frugal Editor in its third edition—new in that last few years, in fact! And—if you scroll a bit—you’ll find another list of editing myths you—still believe—yes! You personally—that just happen to still be lying in wait for an occasion to embarrass (humiliate!?) you:

·       The Third Edition of The Frugal Editor has been reorganized, and my publisher Victor Volkman at Modern History Press tells me I outdid myself with about 50% new (helpful!) material including new “Editor’s Extras” based on my own school of hard knocks!

·       Authors will love the all-new sections including:

o    Beta readers and peer reviewers

o    What you probably don’t know about custom dictionaries

o    Up-to-date rules for accommodating gender-specific and other cultural needs

o    A chapter for word-lovers and poets

o    Quickie reviews of word processors for you

o    What even traditionally accepted front and back matter can do for your book sales, your career, and your readers

o    Political Correctness considerations change and grow with each passing day. So, yes! Lots of updating here!

·       The Third Edition of The Frugal Editor still includes the basics that make you into an on-your-own editor when you must be. Few writers other than Stephen King can afford to hire an editor for every query letter, every media release, every media kit, every blog post. So until your career is so star-studded you can afford a publicist and editor on a retainer basis, writers need to know both the basics of editing and the little-known secrets.

·       The third edition is still loaded with reader favorites like what authors need to know about book covers—another aspect of publishing that even experienced authors might leave entirely up to others—but it’s updated!

·       New information will dispel myths like these:

o    Agents are a cantankerous lot. (Nope! In The Frugal Editor, twenty-one of the nation's best tell you their pet peeves and they do it in the best of spirits.)

o    If your English teacher told you something is OK, it is. (No! Language rules have changed since you were a sophomore. Anyway, your English teachers likely have no background in publishing, so apart from basic grammar, how much help can they be?

o    If a manuscript or query is grammar-perfect, you'll be fine. (No! Lots of things that are grammatically correct annoy publishers.)

o    Always use your Spell and Grammar Checker. (No! Some suggest you don't use it at all, but The Frugal Editorwill help you make it your partner instead of your enemy.)

o    It's easy to avoid agent and editor scams by asking other writers. Even other professionals! (The Frugal Editorgives you a to-do and not-to-do lists to help you avoid being taken even when you are doing just that. )

o    Your publisher will assign a top-flight editor. Even big five publishers are having budget problems and many cut expenses by using less experienced/qualified editors. (Maybe, but don't count on it. The more you know, the better partner you’ll be for an editor!)

o    Formatters and editors will take care of the hyphens, ellipses, and all the other grungy little punctuation marks that English teachers avoided teaching because they didn't know how to use them either. (Chances are, you'll catch even great formatters and editors—the ones you pay for their services—in an error or two if you know your stuff!

o    When you do know your stuff, you’ll feel more comfortable defying all kinds of rules that are still extant. You’ll even feel comfortable explaining to your editor why this choice is an improvement for this particular title, voice, time, or era.

 

NOTE: The parts of this article bulleted are reprints (edited and updated) from one of my sell sheets. They are widely used in publishers’ and authors’ review-getting process using query letters, ARCs, and accompanying marketing materials. Find a sample of sell sheets—front, back, and footer—in the Appendix of The Frugal Editor, third edition.

You’ll find the first part of this plea of mine for writers right here on Karen Cioffi’s Writers on the Move
blog in my column on basic dialogue tips posted  in May, 2025.

It will give you ten reasons why knowing more 
editing than your do already might make

you a better (and happier) writer . 

Go to:  
 https://www.writersonthemove.com/2025/05/dialogues-ten-basic-cant-go-wrong-rules.html

 

MORE ABOUT TODAY’S WRITERS ON THE MOVE CONTRIBUTOR

Carolyn Howard-Johnson was an instructor for the UCLA Extension Writer's Program for nearly a decade. The first book in her HowToDoItFrugally Series of books, The Frugal Book Promoter, won USA Book News' Best Professional Book Award and Book Publicists of Southern California's Irwin Award. The second, The Frugal Editor, is the winningest book in her HowToDoItFrugally Series of books for writers (The first edition was named best of 2004 by USA Book News.) TFEIII includes many more editing tips on dialogue—even punctuation for dialogue. Learn more about building a career in the publishing world at www.howtodoitfrugally.com. 

 

“Careers that are not fed die as readily as any living
 organism given no sustenance.”

·       

Before Publishing: Proof it Once, Twice, Ten Times...

 

 

 

Contributed by Karen Cioffi, Children's Writer

 

While proofreading is the final editing stage, the final frontier, does it guarantee an error-free manuscript, article, blog post, or other form of writing?

Well, no.

Years ago, I reviewed picture books for Sylvan Dell (renamed in 2014 to Arbordale Publishing), which was, at the time, a pretty big publishing company. When I finished a math-focused picture book, I glanced at the back pages. The last spread was filled with simple math problems like
2 + 4 = 6.

Well, one of the answers was wrong. I checked it over and over. It was wrong.

I quickly emailed the woman I worked with at Sylvan Dell and let her know. She thanked me, and I never heard from her again.

Guaranteed someone got in a lot of trouble over that mistake. As far as I remember, I didn’t get Review Copies of books. The books were already published.

Another example of finding an error in a published book is a book I helped self-publish for a client.

Dealing with picture books adds another element of proofing.

Near the end of one ghosting and publishing project, the client wanted the word "Australia" added to an umbrella in an interior illustration. The story text had been meticulously edited and proofed, but I didn't check the spelling of Australia in the illustration.  

Not realizing there was an error, I helped the author self-publish it in paperback, hardcover, and ebook formats. A buyer contacted the author to let her know the word Australia was spelled wrong!

I check everything else in illustrations for consistency and accuracy. But I hadn't thought about that one word. Lesson learned.

I immediately contacted the illustrator and took care of it. Then, I republished the book.

Spelling errors in illustrations isn't something Grammarly or ProWritingAid can help with. And I don't know if a proofreader would get involved with proofing illustrations.   

My point is that there are NO guarantees in producing a 100% error-free book.

As a ghostwriter and editor, I take all kinds of precautions to ensure my clients’ work and my own work is error-free.

I use Grammarly and ProWritingAid. I also, at times, use a proofreader. I also suggest my clients read through their manuscripts, keeping an eye out for errors.

You can’t be too careful.

I even use Grammarly for my blog posts and other content I create.

But even so, if a publishing company with editors and proofreaders can make a mistake on a published book, no one should feel they are infallible.

I’m sure you’ve found errors in books, blog posts, ads, websites, and so on. It may not be often, but it happens. Some common errors include grammatical mistakes, typographical errors, punctuation issues, and formatting discrepancies.

Achieving absolute perfection is incredibly challenging. Humans, including writers and editors, are prone to errors, and the complexity of language and the writing process introduces various opportunities for mistakes.

An article at Wired.com, “Why It's So Hard to Catch Your Own Typos,” explains, “When we're proofreading our own work, we know the meaning we want to convey. Because we expect that meaning to be there, it's easier for us to miss when parts (or all) of it are absent. The reason we don't see our own typos is because what we see on the screen is competing with the version that exists in our heads.” (1)

“Why You Can’t Spot Your Own Typos,” an article at Business Insider, explains what you can do to help you see what’s on the page. “The trick with editing, then, is to de-familiarize yourself with your words as much as possible.” (2)

So, what else can you do to get as close to an error-free manuscript as possible?

Here are 14 tips to use during the proofreading stage to help minimize errors in your final manuscript:

1. Take a Break:

Before you go from editing to proofreading, take a break. It can be an hour, a day, a week, or whatever you’re comfortable with or have time for. This will help you spot errors more easily.

2. Print it Out:

Reading from a printed manuscript gives you a different perspective.

Most of my manuscripts are picture books or chapter books, so printing them out isn’t too wasteful. I do have a problem with middle-grade or YA manuscripts, though. Aside from wasting paper, there’s the ink cost.

Instead of printing, you can change the font and text size. You can even change the background color of the document.

These tweaks will help you spot errors you would might have missed in the original.

3. Grammar and Spelling Check:

Use the grammar and spell-check functions of your word processing software. However, be aware that these tools may not catch every error, so a manual review is essential.

4. Consistency Check:

Ensure that there is consistency in spelling, formatting, and style throughout the manuscript. Check for consistent use of tense, formatting of headings, and citation style, among other elements.

In one manuscript, I had the protagonist’s name spelled wrong in two places. I went through the first proofread without catching it. Thankfully, I caught it on the second run.

5. Punctuation Review:

Carefully examine punctuation marks such as commas, periods, semicolons, and quotation marks. Pay attention to proper placement and usage.

One common mistake is to forget to add dialogue quotation marks at the beginning or end of the dialogue. This can easily happen during the editing stage if you edit the dialogue.

Here’s an example:

John raced through the house, bumping into chairs, tables, and even his big sister, Sarah. “Sorry, I’m running late.”

Now, suppose you edited it to:
“Sorry, he yelled. “I’m running late.”

Notice the missing dialogue quotation after sorry. It’s an easy miss.

6. Editing Tool:

If your budget allows, use an editing program like Grammarly or ProWritingAid. These tools can be very helpful.

They also have AI capabilities and offer suggestions on rephrasing sections of your manuscript for better understanding and tight writing, among other things.

It’s important to realize, though, that they are not infallible either.

7. Formatting Check:

Verify that your manuscript adheres to the specified formatting guidelines. This includes margins, font styles, line spacing, and other formatting requirements.

I make notes I can quickly access so I don’t have to retrace my steps to find out things like line spacing from the top of the page to the chapter heading to the chapter content.

8. Cross-Check References:

If your manuscript includes references, citations, or footnotes, double-check them for accuracy and consistency. Be sure all citations are correctly formatted and match the bibliography or reference list.

9. Check Headings and Subheadings:

Confirm that your headings and subheadings are appropriately formatted and consistent throughout the document.

It’s helpful to have notes to keep everything uniform.

10. Read Aloud:

This is a very helpful step. Reading your manuscript aloud can help you identify awkward phrasing, repetition, and errors that might be overlooked during silent reading.

If you pause while reading, the reader definitely will.

11. Review Tables and Figures:

If your manuscript includes tables, figures, or other graphical elements, make sure they are labeled and formatted correctly.

12. Check Page Numbers:

Ensure that page numbers are in the correct order and that they match any table of contents or index.

13. Final Review of Changes:

If you made revisions or edits during the proofreading process, do a final review to ensure all changes have been implemented correctly.

14. Seek Help:

Having a fresh set of eyes on the manuscript during the proofreading stage is beneficial.

Consider asking a colleague, friend (only if they know what they’re looking for), or a professional proofreader to review your work.

If your budget allows, I strongly advise hiring a professional proofreader.

Summing It Up

While achieving a completely error-free manuscript may be challenging, a thorough and diligent review process can significantly reduce the number of errors and improve the overall quality of your work.

 

References:

(1) https://www.wired.com/2014/08/wuwt-typos/
(2) https://www.businessinsider.com/why-you-cant-spot-your-own-typos-2014-8
  

This was originally published at: https://karencioffiwritingforchildren.com/2023/11/26/proofreading-the-final-frontier/ 

ABOUT THE AUTHOR

 

 

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture, chapter, and middle-grade books). If you need help with your story, visit Writing for Children with Karen Cioffi.

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

FICTION WRITING FOR CHILDREN eCOURSE
4-Week / 8 Sections Guided Self-Study Mentoring Program

You can connect with Karen at:
LinkedIn: https://www.linkedin.com/in/karencioffiventrice
Facebook: https://www.facebook.com/kcioffiventrice/
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/

 

 

 

Children's Writing: Story, Plot, and Arcs

 Contributed by Karen Cioffi, Children's Writer

Lately, I've received a number of picture book manuscripts from potential clients who wanted quotes on editing.

Once I read over the stories, I quickly knew they weren't an editing project because there were no actual stories. They were a list of events or scenes.

It seems to be a common problem with new authors who don't take the time to learn the very basics of writing a story.

So, what exactly is a story and plot?

An article at The Write Practice uses a quote from E. M. Forster to explain the difference between story and plot: "The king died and then the queen died," is a story. "The king died, and then the queen died of grief" is a plot. (1)

The story is the basic storyline. It's the overall description of the story.

In my chapter book, Walking Through Walls, the storyline is that the protagonist wants to become rich and powerful, no matter what it takes.

The plot is in the details.

The plot of Walking Through Walls is that the protagonist wants to become rich and powerful, no matter what it takes, and he believes learning magic will get him there.

Another good example of story and plot is The Story of an Hour by Kate Chopin.

The story: Within one hour, the protagonist thinks her husband died in a train crash. Having missed the train, he comes home, and the protagonist drops dead.

The plot: The protagonist thinks her husband died in a train crash. Having missed the train, he comes home, and the protagonist drops dead, but it's not from the shock of overwhelming joy.

Paints quite a different story, doesn't it?

Now, if you have a series of events: Pickles the dog plays with a cat, then plays with a frog, then plays with a goat, then plays with a pig, you don't have a story arc or character development.

I'll have clients ask why something like the above isn't a story. The dog is having lots of fun with different animals.

Well, if it was a concept book teaching about animals, then it could work.

But if it's to be a fiction story, it doesn't work. The reason is it lacks a story arc and a character arc.

The story arc is the path the overall story takes. Every character in the story goes on this journey. It's also called the narrative arc.

According to a MasterClass article, the narrative arc "provides a backbone by providing a clear beginning, middle, and end of the story." (2)

The character arc, on the other hand, is the path the protagonist takes.

Just like the story takes the reader on a journey, so does the protagonist.

The character arc is all about the protagonist. It's him confronting a conflict or challenge, his attempts to overcome it, and his ultimate success. Through this character journey, the protagonist grows in some way. She may gain knowledge, become confident, mature, rise to challenges, or grow in some other way. But it's essential there is growth, especially when writing for children.

So, going back to Pickles the dog, he, as the protagonist, has no conflict or challenge to overcome. He doesn't grow in any way.

And as for the Pickles story, it's flat. There's no arc.

Readers won't become invested in a series of events. They want to connect to the protagonist and root for him to overcome his obstacles. They want a full story arc and character arc.

References:

(1) https://thewritepractice.com/plot/
(2) https://www.masterclass.com/articles/what-are-the-elements-of-a-narrative-arc-and-how-do-you-create-one-in-writing/

ABOUT THE AUTHOR 

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture, chapter, and middle-grade books). If you need help with your story, visit Writing for Children with Karen Cioffi.

You can check out Karen's fiction books HERE.

You can connect with Karen at:
LinkedIn: https://www.linkedin.com/in/karencioffiventrice
Facebook: https://www.facebook.com/kcioffiventrice/
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/

 

Common Children's Writing Mistakes

 I attended a webinar through Children's Book Insider (CBI) with traditionally published children’s authors Jean Daigneau and Gloria Adams. They had some very helpful tips.

One section I found interesting was about the BIG common mistakes that authors make with children’s books.

1. The number ONE most common big mistake is a weak plot.

So, what does a weak plot mean?

No conflict, or very little.

Basically…

The main character needs to have a problem. It can be internal or external, but it needs to be something that has consequences attached to it.

The conflict doesn’t need to be life or death; it may be that he figures out a way to stop a bully. Or, she figures out a way to get the bike she wants. It could even be that he was lonely and finds a friend.

It does need to be something that will get the young reader engaged.

It’s the conflict that will make the reader become invested in the main character’s journey. It’s the conflict that will motivate the reader to read to the end.

2. The number two most common mistake is the lack of a story arc.

A story needs a full story arc. A beginning, a middle, and an end, and within that structure, there needs to be rising conflict.

There also needs to be a satisfying resolution to that conflict.

This is commonly known as Freytag’s Pyramid.

The story starts on the left side of the pyramid. The action and conflict climb up to the peak (the climax). Then, it’s down the right side with falling action and the resolution.

3. Another big mistake is the lack of a character arc.

The character needs to grow in some way.  

He needs to change in some way as a result of his journey to overcome the obstacle blocking him from reaching his goal.

The character may become kinder, happier, more confident, smarter, physically stronger, emotionally stronger, more creative, or less fearsome. You get the gist.

He shouldn’t be the same person he was at the beginning of the journey.

When you look at the character at the beginning of the story and then at the end, he needs to be different. There needs to be some kind of growth.

Some of the SMALLER mistakes or problems authors make are:

1. Double tags.

Here’s an example:

Pete threw his fist in the air. “If he does that again, I don’t know what I’ll do,” he said.

This is a double tag.

It’s already established that Pete is talking because he’s noted throwing his fist in the air. The “he said” shouldn’t be included.

If you know the reader will understand who’s talking, you don’t add a dialogue tag.

2. Picture books and illustrations.

If you’re writing a picture book, take the illustrations into account.

Write with them in mind. Leave enough room for the illustrator to be creative and bring the story to another level.

3. Illustrator notes.

It may be tempting to try to direct the illustrator with a lot of illustrator notes but don’t do it.

Unless it’s something the illustrator wouldn’t know but needs to know, don’t mention it.

An example of this:

Your protagonist has a dog, and you want it to be a specific color and breed. This is something you can note, as the illustrator certainly wouldn’t know about it.

4. Candy-coating the story.

A number of my clients don’t want anything bad to happen to the characters in the story. This is especially true of picture books.

But it’s tough to have conflict if nothing bad can happen to the characters.

The best stories, even if fantasy, have realism in them.

5. Unsatisfying ending.

The ending of your story is important to get right.

All loose ends must be tied up. And, especially in picture books and writing for young children, the ending must be satisfying.

The reader should go away feeling good about the story.

Another important aspect of the ending is to NOT tell the reader what the message of the story is.

The takeaway value of the story should be subtly conveyed through the story itself. Don’t hit the reader over the head with it.

Winding this up...

A good story needs it all. It needs conflict with rising action and resolution. It needs character growth with a subtle message.

The best way to incorporate all this into your story is to read a lot of traditionally published books in the genre you’re writing. Pay attention to what makes those books work.

ABOUT THE AUTHOR 

 

 

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture, chapter, and middle-grade books). If you need help with your story, visit Writing for Children with Karen Cioffi.

You can check out Karen's books at:
https://karencioffiwritingforchildren.com/karens-books/

You can connect with Karen at:
LinkedIn: https://www.linkedin.com/in/karencioffiventrice
Facebook: https://www.facebook.com/kcioffiventrice/
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/
 

You've Got to Know What You're Doing When Writing for Children

 Contributed by Karen Cioffi, Children's Writer

 As with anything you attempt to do, it’s essential to know what you’re doing.

My father was a contractor—he built homes.

How structurally sound do you think those homes would have been if he didn’t know what he was doing or didn’t know how to read blueprints?

Or what about a musician who didn’t learn how to play an instrument. Or one who knew the basics but never practiced them. Would you attend a concert that musician was giving?

Well, the same thing applies to writing for children.

It’s true that a self-published author can publish a poorly written book; no one will stop him. But do you think that’s fair to the reader and those authors who produce quality books?

The answer is NO on both accounts.

A common problem I see with new children’s authors is that they’re not familiar with the different genres.

I’ll see 2,000-word picture book drafts or 9,000-word middle-grade drafts.

I’ll also see things like an intended middle-grade draft with inappropriate content for the age group.

This also applies to the words you use in your story. Everything must be age-appropriate when writing for children.

And there must be a main character (protagonist).

A story I recently reviewed had no main character. It didn’t have a story arc, either.

This is common for some new authors. They have a message they want to convey but don’t realize it needs to be within the boundaries of a good fiction story.

Another biggie I notice is middle-grade stories with multiple points of view (POV), even going so far as to change POVs within a chapter.

I realize that many people think writing for children is simple.

How hard can it be, right?

Well, it’s actually a tricky genre to write in.

When writing for children, you must adhere to the industry’s standard guidelines. In other words, you need to know what you’re doing … you need to play by the rules.

Some elements that pertain to playing by the rules are:
1.    Word count
2.    Sentence length
3.    Chapter length
4.    Story length
5.    Age-appropriate content
6.    Age-appropriate words
7.    Point of view
8.    Protagonist
9.    Character arc: The protagonist must overcome the problem and grow in some way as a result of the journey
  10. Story arc

While there are other factors involved, these are ten of the most important.

So, before you jump into a children’s story, read a lot of books in the genre you want to write. Be sure they’re well-written, though. A good way to do this is to read recently traditionally published books by top publishers, such as Simon & Schuster, Houghton Mifflin Harcourt, and Chronicle Books.

There are good self-published books out there, but it’s sometimes a guessing game as to which are well-written and which are poorly written. You wouldn’t want to learn or model poorly written books.

Traditionally published books will be up to the current publishing guidelines and well-edited.

You should also take a few online children’s writing courses, read books on writing for children, and possibly get a children’s writing coach to help you overcome the hurdles of writing a publishable book.

This article was first published at:
Writing for Children – Know What You're Doing

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, editor, and writing coach. If you need help with your story, visit Writing for Children with Karen Cioffi.
 

OTHER TOOLS FOR CHILDREN'S AUTHORS:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

PICTURE BOOK, CHAPTER BOOK, MIDDLE GRADE COACHING
Four to twelve-week coaching programs.

FICTION WRITING FOR CHILDREN eCOURSE
4-Week / 8 Sections Guided Self-Study Mentoring Program 

Writing for Children? 3 Things to Avoid

 

Contributed by Karen Cioffi

It seems there are still new children’s authors or wannabe authors who don’t take the time to learn how to write for children… at least to learn the basics.

The absolute must-nots when writing for children:

The Picture Book Cliffhanger

A recent client of mine was for a picture book rewrite project with the ending missing, so there was a bit of ghosting involved. The intended age group was four to eight.

I rewrote the story and added a ‘satisfying’ ending with a takeaway only to learn the client wanted it to be a cliffhanger and didn’t want a takeaway.

Well, kind of a cliffhanger. The client wanted the ending missing.

No loose ends tied up. No satisfying ending. No full character arc. No full story arc.

This client scenario was a first for me.

Not wanting a takeaway is one thing, but not wanting a satisfying ending for a young children’s book doesn’t make sense.

The story was to leave the reader to guess what the author had in mind for the ending or create their own.

The author’s intent was to create a series of cliffhangers motivating the reader to get the next picture book.

I tried my best to help the client understand that a young children’s book needs all the elements of a ‘good’ story, especially when seeking a traditional publishing contract.

I understand that in self-publishing a lot of new authors do whatever they want (even though they should produce a quality book), but it’s a different ball game when going the traditional route.

The Perfect Story World

I don’t get too many of these types of authors, but it came up in another recent project.

This scenario is when the author doesn’t want any significant conflict in the story. No real stakes involved.

-No swarm of bees to block a path the protagonist must get through.
-No ferocious fire-breathing dragon blocking the entrance to a cave the protagonist must get into.
-No dangling from a cliff before being rescued.

The author also doesn’t want the characters, even the villain, to have any bad traits.

-No evil Professor Moriarty (Sherlock Holmes’ nemesis).
-No evil Joker or the Penguin (Batman’s nemesis).
-No evil Lex Luthor (Superman’s nemesis).

This type of story is sugar-coated.

Instead of a roller coaster that goes up and down, where the rider has to hold on tight, this type of story is the stationary horse on the carousel, no holding on needed, no real movement involved.

You always want your story to be the one the reader is motivated to hold onto, motivated to turn the pages. You want your story to go up and down and around.

Hitting the Reader Over the Head

Most of my clients have a specific goal for their story. They want to send a message to a child. They know exactly what they want the takeaway to be.

A number of stories have the bullying theme, but interestingly, that’s eased off. Now I get more requests for inclusion, standing up for yourself, and being kind themes.

Some new authors think they have to hit the reader over the head with their message. They blatantly want to tell the reader how the main character grew because he was kind, stood up for himself, or included someone different in her group.

Hitting the reader over the head with the story’s message is frowned upon. The story should convey the message subtly. The reader will pick up on it.

I hope these three absolute must-nots in kid’s writing help you on your children’s writing journey.

ABOUT THE AUTHOR

 

 

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi.

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING SERVICE
Self-publishing help for children’s authors.

The Ghostwriter - What Does She Do?

 

 Contributed by Karen Cioffi, Children's Ghostwriter

 

She’s Invisible…She’s Powerful…She Helps People…She’s the Ghostwriter!

What’s the essential characteristic of a ghost?

Invisibility.

And, along with being invisible, the ghostwriter is a powerful tool and a huge help to people who can’t seem to get their ideas into readable and publishable stories. Or for people who don’t have the time to write themselves. Or for people who don’t have the necessary skills to write a book.

The ghostwriter is kind of like a superhero in the writing world. She lifts you up and helps you create what you don’t have the time, energy, or skill to do yourself.

She is a modest gal and takes no recognition for her feat. The individual who hires her gets all the credit for the finished product. The ghostwriter gets paid for her services.

In other words, the ghostwriter can be a ‘dream-fulfilling’ superhero.

Okay, maybe not a superhero, but you get the idea.

Moving quietly behind the scenes, the ghostwriter helps turn your dreams into reality.
Wait. Maybe she is a superhero!

What Can She Do?

•    Does your story need a makeover?
•    Do you have a story outline but don’t know where to go from there?
•    Do you have a story idea but don’t know what to do with it?
•    Fiction, nonfiction? Short story, long story? Essays? Speeches? White pages?

NO PROBLEM. There are ghostwriters who can write in any niche.

How Does It Work?

The client (individual hiring the writer) may provide an idea, an outline, a draft, a keyword, or a topic. Or, he may need a piece rewritten.

The ghostwriter does her homework and accomplishes what is requested.

She turns whatever you have into an engaging and publishable story.

Does the Ghostwriter Ever Get Recognition?

It should be noted that ghostwriters sometimes receive recognition or credit. This is something the client and writer decide upon. The cost of the project may be less if credit is given. But, most often, the ghostwriter remains anonymous.

In other instances, the ghostwriter may reduce his fee for a percentage of the profits from the finished product.

Is Ghostwriting Popular?

According to the article “What is a Ghostwriter?” by Gary McLaren, “Statistics are hard to come by since many people don’t want to reveal that their book or other content is ghosted. But, some industry estimates suggest that up to fifty percent of all non-fiction books are ghostwritten.”

A few famous ghostwriters are:

– Barbara Feinman ghostwrote, It Takes a Village and Other Lessons Children Teach Us by Hillary Clinton.

– H.P. Lovecraft was a ghostwriter for Harry Houdini.

– A.E. Hotchner ghostwrote the autobiographies of Doris Day and Sophie Loren

– And you have series writers like Tom Clancy and James Patterson who share authorship with their ghostwriters.

– Even the Nancy Drew and Hardy Boys series have ghostwriters.

Confidentiality and the Ghostwriter

Professional ghostwriters will absolutely keep your idea, outline, draft, or other information completely confidential.

If you’d feel more comfortable with that in writing, the ghostwriter will supply you with an NDA (non-disclosure agreement).

Hiring One

It may be difficult for a ghostwriter to obtain testimonials from all her clients, so when looking for one, you should ask for samples of her writing in addition to testimonials.

Another tip for hiring a ghostwriter is to check if her site is active and looks professional. Is there a helpful blog?

If you’re interested in hiring a ghostwriter, ask for a brief phone consult or send an email to start a conversation and get a feel for the writer.

This article was first published at https://karencioffiwritingforchildren.com/2017/04/02/the-ghostwriter/

ABOUT THE AUTHOR

 

 

 

Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi.

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING SERVICE
Self-publishing help for children’s authors.