Writers On The Move: Karen Cioffi

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Write for the Reader, Not for Yourself

By Karen Cioffi

Years ago, a client told me that I don’t write for the client; I don’t even write for myself; I write for the reader.

This was in regard to a picture book I wrote for the client and it’s the best compliment I’ve ever gotten.

This is how every author should write.

Two key points when writing for children are: Write for the reader and take professional advice.

At this point in my writing career, I’ve probably written around 350 stories, between ghostwriting and rewriting. Most of them are ghostwritten.

That’s a lot of clients. And even though I’ve had a number of series clients and return clients, all-in-all, I’ve dealt with at least 300 individual clients.

And I’m most likely underestimating this.

My point, though, is that most authors, especially new authors or wanna-be-authors, don’t realize the importance of writing for the reader.

So, what exactly does this mean?

A perfect example of this is a young adult story I’m currently working on. It’s over 100,000 words and is engrossing, but it’s also very complicated.

I’m working with the client for around nine months or so, and a running problem keeps coming up: he writes for himself.

-He knows what every character’s backstory is – every little detail.

-He knows the story’s backstory.

-He knows the history of the story topic intimately.

-He knows why Character Z is evil.

-He knows how the enemy is getting their information.

-He knows how the next two books in the trilogy will pan out.

The problem…

The reader doesn’t know. And, the client more than occasionally throws in something that the reader will get lost on.

The client can’t grasp that the reader can’t read his mind.

It’s easy to fall into this hole.

It’s super easy to get caught in this scenario, especially if it’s a long story and you’re writing independently.

Again, you know what you intend. You know what’s happening – you know the why to what’s happening. But this doesn’t mean the reader will unless you clue them in.

To give a more straightforward example, suppose a story has four brothers battling an enemy, but it’s mentioned somewhere that there are five brothers. The fifth brother is mentioned vaguely in a very brief scene, then just disappears.

The author knows who the fifth brother is, where he is, how he vanished, and why he vanished. The author thinks it’s important to mention the fifth brother because that brother will play a big part in another book. The problem, again, the reader doesn’t know any of this.

The reader will begin to wonder. Who’s the fifth brother? Why was he there and then vanished? What is his place in the story? She’ll possibly get annoyed that the author even mentioned the fifth brother.

You don’t want the reader to feel she’s left out of the loop or that the story is too complicated for her. Give the reader what she needs to be engaged in the story and on top of it.

LOL Writing this, I’m not even sure if I’m being clear enough. I know what I’m trying to say; I hope it translates over.

Readers are savvy and can read between the lines as long as the author provides enough clues or information.

Write with clarity. Don’t expect the reader to be a mind reader.

Finally, if you’re working with a professional editor, rewriter, or ghostwriter, take her advice, especially when it’s on something that just makes sense.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author and children’s ghostwriter, rewriter, and coach with clients worldwide. She is also the founder and editor-in-chief of Writers on the Move and an author online platform instructor with WOW! Women on Writing.

Karen’s children’s books include “Walking Through Walls” and “The Case of the Stranded Bear.” She also has a DIY book, “How to Write Children’s Fiction Books.” You can check them out at: https://karencioffiwritingforchildren.com/karens-books/. If you need help with your children’s story, visit: https://karencioffiwritingforchildren.com.

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Children's Writing and Fantasy

By Karen Cioffi

Before I get into this article, for those who don’t know the difference between science fiction and fantasy, here it is:

Science fiction is based on scientific possibilities, even if loosely based on those possibilities or far-fetched. Fantasy stories are based on magic or supernatural occurrences.

I’d say about half of my clients want fantasy stories. And, that’s fine with me because I love writing in this genre.

Writing fantasy stories gives you free reign. Your imagination is literally your only limit.

Keep in mind that you do need to adhere to traditional publishing guidelines when writing for children no matter what genre you’re dealing with, even if you’re self-publishing.

This means keeping the storyline and words age appropriate. It also means creating a quality story that will engage the young reader.

And as a fantasy writer, while you have free reign, you must create the rules and boundaries for the world you’re creating. Although fantasy, the world needs to make sense to the reader.

But, what’s involved in actually writing fantasy?

Writing fantasy boils down to one basic question:

How do you create a fantasy world?

This is a tough question.

I think it depends in part on the kind of fantasy world you need or want to create.

STARTING WITH REALISTIC FICTION

With some types of fantasy stories, you’re not really creating an entirely new world, you’re stretching the existing one. An example of this is Superman. Earth is as it is, Superman simply has supernatural abilities

In these stories, the earth and society are normal. You’re adding other elements that are beyond reality or scientific possibility that turn the story into fantasy. At least this is how I view it.

These fantasies start with realistic fiction and an element of fantasy or a super-natural element is thrown in the mix.

It might be the protagonist finds ‘something’ or experiences something and it creates a ‘fantasy’ situation.

- Maybe the protagonist can read minds.
- Maybe he becomes super-strong.
- Maybe she becomes super-smart.
- Maybe he can fly.
- Maybe she becomes invisible.
- Maybe the protagonist can turn into an animal.

This list can go on and on. The scenarios are almost limitless.

“Charlie and the Chocolate Factory” begins with realistic fiction. An ordinary family with Charlie as the protagonist. He wins a contest and enters a world of fantasy.

Middle-grade “Walking Through Walls” begins with historical, but realistic, fiction. It starts with a boy and his family in 16th century China. Then the boy, 12-year old Wang, finds the Eternal Temple. This sets off the fantasy.

There’s also “Alice in Wonderland” and “The Lion, the Witch and the Wardrobe” among lots of others. These stories also begin with realistic fiction.

For these stories, there’s an incident or catalyst that turns realistic fiction into fantasy.

If you’re writing this type of story, you need to decide on the incident or catalyst that immerses the reader into the world of fantasy.

Then you need to decide on what magical or super-natural element will be created due to the catalyst.

FANTASIES THAT START OUT AS FANTASY

Some stories bring you right into the fantasy world. You’re immediately immersed into it. There is no element of realistic fiction. No catalyst or incident is required.

Think of “The Hobbit” and “Watership Down.”

The first chapter, first paragraph of “The Hobbit” reads:

"In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.”

The reader is immediately immersed in a fantasy world and she knows it.

Even while the setting of “Watership Down” is based on a real area between Berkshire and Hampshire in England, and author Richard Adam is very explicit when describing the land he knew very well, you know it’s fantasy because of the talking animals.

In his book though, while Adams is very descriptive in regard to the area, it’s not until the third paragraph that the rabbits (the characters) are mentioned. And, it’s not until the fifth paragraph that the rabbits talk.

But “Watership Down” is a LONG book. I have the illustrated (by Aldo Gallo) hardcover and it’s 474 pages. It was originally copyrighted in 1972. I don’t know if this type of lavishly descriptive children’s book would get a traditional contract today.

But aside from that, think of all the other talking animal books, like the Winnie-the-Pooh series, the Berenstain Bears series, “Stuart Little,” and “Fantastic Mr. Fox.” The young reader is off and running in a fantasy world from the get-go.

For stories that start out in a fantasy world, you need to decide on the element of the story that will be magical or supernatural.

- Will it be talking animals?
- Will it be a supernatural or magical world – trees that talk, land that can transform itself into different landscapes, deep earth caverns filled with prehistoric creatures?
- Will it be a world of unworldly creatures?

Obviously, this list can go on and on, but it gives you a basic idea. The reader knows from the get-go that it’s a fantasy world.

GET THE SETTING DOWN BEFORE BEGINNING

No matter what form of fantasy you’ll be writing, get the basis for the story in place first before beginning.

Will it be a realistic world with magical or supernatural elements?

Or, will it be a fantasy world?

And, it doesn’t matter if you’re an outliner or a pantser. It would be difficult to fly by the seat-of-your-pants if you don’t have the fundamentals in place.

As an example, when I was creating the fantasy “Walking Through Walls,” while I didn’t know all the specifics, I knew it would be set in 16th century China. I knew that the setting for that time period and locale needed to be realistic. This meant I had to do a lot of research.

So, even though I flew by the seat-of-my-pants for most of the story, I had the foundation down. It would be set in a realistic world.

For even more details on writing fantasy, check out the references listed below.

This article was originally published at:
https://karencioffiwritingforchildren.com/2018/03/25/writing-fantasy-for-children/

ABOUT THE AUTHOR

Writing and Supporting Characters

By Karen Cioffi

Every story has a least one supporting character.

According to Cynthia Lord, author of "Rules," a Newberry Honor Book, "A secondary character has two jobs: to show us another side of the main character and to create tension and problems that will move the plot ahead." (1)

To understand this, think of any story. Now imagine that story with just the main character.

Who would he talk to?

Yes, he could talk to himself, but that would get old fast.

How would we learn more about the character other than what he would tell us himself?

We wouldn't.

Supporting characters are necessary to every story.

Using Supporting Characters to Learn More About the Protagonist

A movie I loved is Cast Away, the 2001 movie with Tom Hanks.

Hanks played Chuck Noland, a FedEx worker who gets stranded on a remote desert island. He's stranded on this island for four years.

No other people are around.

So, the clever writer, William Broyles, Jr., created a supporting character for Chuck. A volleyball that washes up on shore.

Yes, a volleyball.

As time goes on, Chuck names the volleyball Wilson.

If not for Wilson, the viewer would know very little about Chuck and there wouldn't be much of a story.

Chuck talks to Wilson, confides in Wilson, argues with Wilson, and even cares about Wilson.

If you haven't seen it, it's an amazing movie. One that proves even an inanimate object can be a powerful supporting character.

While Wilson showed us a lot about Chuck's character, an inanimate object as a supporting character doesn't really do much to move a story forward. And, it doesn't have much ability to add tension or problems into the story.

In this movie, the elements and Chuck's emotional state were the antagonists causing conflict.

Using Supporting Characters to Provide Conflict

Supporting characters can actually provide the conflict for the main character and drive the story forward.

I'm writing a sequel to my middle grade fantasy, Walking Through Walls, and it's the supporting character who is adding a big serving of problems for the main character.

In the first book, the story was solely about the main character, Wang. It was about his struggle to get what he wanted. While the supporting character Chen was introduced, he didn't have a significant role.

In Book Two, Chen is the source of the conflict and struggles the two friends go through to reach their goal.

In this new story, which I haven't given a title yet, Chen is the one with a problem. His sister was abducted by evil warriors and he asks Wang's help to get her back.

As the main character, Wang is learning his skills as an Eternal student while helping Chen. This all allows the reader to see more of Wang's character and to connect with him.

The story is a fantasy action adventure, so along the way, the two friends will encounter a number of obstacles on their journey to save Chen's sister.

Using Supporting Characters to Provide Subplots

Sometimes, a story from Point A to Point B, may be a little boring or may just need a little something to spice it up.

According to New York Book Editors, "subplots add dimension to your story. They have the power to transform flat black-and-white stories into a living, breathing, prismatic experience." (2)

Subplots can also help pace your story.

I'm using this strategy in a middle grade story I'm ghostwriting.

The main storyline is strong, but to carry its weight through 40,000 words, it may lose steam.

The solution is to have the supporting characters have their own little stories going on. While the main character is privy to everything that's going on, these little diversions create reader engagement and help move the story forward.

Another benefit of subplots with supporting characters is that they can be in the forefront for a short while to liven things up, then lie low until needed again.

These subplots help the reader get better acquainted with the characters.

It's important to remember, though, that when you create a subplot in a story, you need to have an arc for each subplot you create. You need to tie up any loose ends it creates. Think of it as a mini-story within the main story.

So, if you're writing your first book, think about your supporting characters. How will they help liven your story up and engage the reader? How will they help move your story forward?

References:

(1) https://gointothestory.blcklst.com/great-characters-wilson-cast-away-5a6ff322139d
(2) https://nybookeditors.com/2017/11/the-importance-of-subplots/

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, a successful children’s ghostwriter with 300+ satisfied clients worldwide, and an author online platform instructor with WOW! Women on Writing. For children’s writing tips, or if you need help with your children’s story, visit: https://karencioffiwritingforchildren.com

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

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What George Orwell Has to Say About Words

What George Orwell Has To Say About It

Freedom of the Press and Words Count

By Carolyn Howard-Johnson

You may know me as “The Frugal Book Promoter”…or novelist. . .or poet. But because this year is shaping up to be an especially difficult year worldwide, maybe you won’t mind if I stray a bit from my usual topics to talk to you about topics that that have been in the news recently—namely freedom of the press and the importance of words?

Not long in the past during the height of the Covid pandemic, the White House issued a list of words the Center for Disease Control and Prevention shouldn’t use. That was unprecedented. It bothered me then and it bothers me even more now that Covid keeps reoccurring but some of the other major problems we face have exacerbated. We are lucky that as writers it has been relatively easy to isolate ourselves. That has made me even more appreciative of the importance of words in my life and, I hope, has done the same for you..

The LA Times (Tuesday, Jan 16, 2020 page B2) used this as a lead for the story on this repression of words, all the more surprising because the United States is known for its respect for words, both spoken and written:

“’It’s a beautiful thing, the destruction of words.’ George Orwell writes
in the fifth chapter of his dystopian novel, 1985.”

I love the novel the Times chose to quote, but I have always been too optimistic to give its dystopian theme much credence. But here we are with four public health experts from Emory University in Atlanta saying that if the CDC actually obeys the White House order to avoid certain words and phrases and that by doing so, it “squanders [the agency’s] limited resources.” Other agencies were also “forbidden” to use words like “vulnerable,” “entitlement,” “diversity,” “transgender,” “fetus,” “evidence-based” and “science based.” In some cases, the administration’s budget office suggested alternative terms which is a subtle way of saying they are not only telling them what words to avoid, but telling us what words they would like to them to use. I can only hope that this administration will return to honor the constitution’s freedom of speech and press intentions.

Then in a recent Sierra Club magazine (sources do count for us writers!), I learn that the US climate office was told not to use the terms “climate change,” “emissions reduction,” or “Paris agreement.” Seems someone was trying to control what we write about, maybe trying to control how we think.

Times also reported that in addition to our concepts of free speech and free press, gagging like this violates The Plain Writing Act of 2010 that requires all federal agencies “improve the effectiveness and accountability to the public by promoting clear Government communication that the public can understand and use.”

We writers should be thankful for that “plain writing” encouragement! But as writers, we should all be worried—even on the lookout—for anything that limits our use of words.

As an example, we’ve been encouraged to use only Merry Christmas as a holiday greeting for decades. I’d hate to lose alternative greetings. As a courtesy, I’ve always reserved Merry Christmas for people I know to be Christian, Happy Hanukkah for those I know to be Jewish. Have a great Kwanza for the black people I know celebrate it but not those for whom I am unsure. Ramadan? Well, I’ve never had occasion to use it (sorry!), but if I did I would be equally careful to abide by the traditions of the person involved.

There are others, but generally, “Happy holidays,” is a polite way to be inclusive when we don’t know the situations or do know that in a diverse population I may be addressing a few people who are members of each group with a few atheists to boot. That is a very small example of how important words are, and how important it is we have access to all the ones we find in a dictionary (and some we don’t). For clarity. So that we can. . . ahem, obey the Plain Writing Act. Now there’s a government proclamation I can get my teeth, molars, and incisors into!

Before I assure that I don’t get too blasé, I occasionally revisit the date that it was written. 2010! Perhaps we need a reminder of the importance of clarity in our communication more often than we think we should. Is it time again? And can we write clearly if words—precious words that came about presumably because they served a purpose—are denied us? And do we pay no attention when other entities use words to color the way we think. That will always be with us. It is part of the price we pay for free speech issues. We can refuse to be taken in by it. Always on the lookout.

----

Carolyn Howard-Johnson is the author of the multi award-winning series of HowToDoItFrugally books for writers including USA Book News’ winner The Frugal Book Promoter now in its third edition from Victor Volkman’s Modern History Press and The Frugal Editor scheduled for release in its third edition in 2022. An instructor for UCLA Extension's renowned Writers Program for nearly a decade, she believes in entering (and shouting out!) contests and anthologies as an excellent way to separate our writing from the hundreds of thousands of books that get published each year. Two of her favorite awards are Woman of the Year in Arts and Entertainment given by members of the California Legislature and “Women Who Make Life Happen,” given by the Pasadena Weekly newspaper. She is also an award-winning poet and novelist and she loves passing along the tricks of the trade she learned from marketing those so-called hard-to-promote genres. She recommends Dr. Frank Lutz’s Words that Work to her writing friends and those who want to understand more about the power of words-both the positives and negatives. Learn more and find tons of free resources on her website at https://HowToDoItFrugally.com.

The Writing for Children Ropes - 8 Tips

By Karen Cioffi

Since I was a kid, I always enjoyed writing. I wrote poems, short stories, even songs. And although I enjoyed writing, I never thought of publishing my work or making it a career until around 2007. As a novice, I figured it'd be a breeze – easy-peasy. I mean how difficult could it be to write simple children's stories?

Since I always felt comfortable writing, I thought it be a natural transition. Writing was something I always went to when in awe, when being inspired, or during struggles. And, I was always able to think of things to write about. So, I began the process of actually writing children's books with the intent of having them published.

My eyes were quickly opened. Another world sat before me, one filled with a lot of hard work, time, road blocks, and rejection letters.

While I minored in English Lit in college, it had been many years ago. Along with this, it's not really the background specifically needed in writing for children or writing to get published in the market at the time … or now.

To write for children …

- You need to know what the current market wants.

- You need to know techniques such as the Core of Threes and having the protagonist solve the problem, not the parent or grandparent.

- You need to know showing is a must, and telling should be limited.

- You need to have the right sentence structure along with proper grammar and punctuation.

- Your words and dialogue must be age appropriate.

- You need to have an age-appropriate plot.

- There should be only ONE point of view, one main character.

- Your main character needs to grow in some way as a result of his journey.

- You need to watch out for blind spots in your writing. Spots where you know what you intended to be conveyed, but the reader won't.

- You need to understand and utilize words such as tighten, good voice, focus, point of view, hook, and lots of other writing elements. It goes on and on and on.

Well then, just how do you learn all the information needed to write for children, especially if you don’t want to get a degree in children’s literature or are unable to enroll in a school specifically geared toward this subject?

The answer is the internet. Sounds easy, right?

Well, think again. Since I've gotten my Bachelor's degree, I've taken a few college courses and other courses long distance and online and I can tell you that learning a subject in a classroom is much easier than learning through other means.

And, learning on your own with the internet is even more difficult and very time consuming.

Why is it so hard?

The reason for the difficulty is there are thousands and thousands of websites and blogs that offer children's writing information.

You'd think this is a good thing, but not everyone online knows what they're talking about. For this reason, it's important to use common sense when searching for information.

Make sure the site is current and posts content regularly. Another must is to research the blog owner. Does she have published books? Traditionally published?

Is she in the business of writing or a hobby writer?

Another difficulty is that finding good sites can be time consuming.

If possible, get recommendations from other authors or writers in your writing groups.

So, what can you do to ease into this?

1. Writing Groups

Your first order of business is to join a children's writing group. One of the best is SCBWI Society of Children's Book Writers and Illustrators (SCBWI). There are new and seasoned people in the business of writing there who are willing and able to help. This is also a good place to network.

2. Critique Groups

Next on your plan should be to join a children’s writing critique group. You'll be able to find one in SCBWI.

3. Writer Conferences

If you're able, it'd be a good idea to make it a priority to attend a writer’s conference.

Some of the bigger ones are:

SCBWI Annual Conferences

The Highlights Foundation Workshop Retreats

Blue Ridge Mountain Christian Writers Conference

Northwestern Christian Writers Conference

You can also do a search for others. Just be sure to look at dates. I've found a number of sites that list events that are outdated – by years.

4. Writing Workshops and Webinars

There are also a number of sites that offer online writing whether workshops, zoom meetings, or others.

MasterClass

SCBWI

WOW! Women on Writing

JaneFriedman.com

WritersDigest.com

Gotham Writing Workshop

The workshops and sites mentioned in this article may not all focus directly on writing for children, but they will offer great writing information.

5. Blogs

Another source of advice is children's writing tips from children's editors, publishers and agents' blogs. Often, you'll get super-useful tips and information. Find reliable and well-established sites. An excellent one is GoodStoryCompany.com and KidLit.com with Mary Kole.

Here are a few others:

Steve Laube Agency

Caitlin Derve Truby's Writing Studio

Children's Book Insider

Writing for Children with Karen Cioffi

The Write Practice

Writer's Digest

Writers Helping Writers.net

6. Books on Writing for Children

Below are a few:

How to Write a Children's Fiction Book by Karen Cioffi

The Magic Words by Cheryl Klein

The Business of Writing for Children by Aaron Shepard

How to Write a Children's Book by Katie Davis and Jan Fields

Yes! You Can Learn to Write Children's Books by Nancy I. Sanders

7. Read, Read, Read

Read writing books and books in the genre you want to write.

As you read, pay close attention to the books in your genre.

What do you like about the book? How did the author convey emotion? How did the author hook you? How were the sentence, paragraphs, and chapters written? How was the dialogue written? How did the story flow? Who was the protagonist? How did s/he grow through the journey?

Pick up on everything you can.

8. Industry Standards Matter

Keep up with the industry standards. What are traditional children's publishers and literary agents looking for? What's being published? What are the standard word counts for the different genres? What books are winning valid awards?

This matters whether you're traditionally publishing or self-publishing. You want a professional book. One that screams that the author knows what she's doing.

While the world of writing for children can feel overwhelming, it can also be very rewarding. Take the time to learn the ropes so you can create a publishable book. And, create a time management plan.

Keep on learning; keep adding tools to your writing toolbox.

With hard work and perseverance, you can write a children's book that you'll be proud to be the author of and one that will be publishable as well as marketable.

This article was first published at: https://karencioffiwritingforchildren.com/2021/03/28/the-writing-for-children-ropes-8-tips/

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Kid's Stories - Should They All Become Books?

Writing over 300 stories, between ghostwriting and rewriting, I’ve only seen one story that couldn’t be tweaked, nudged, shaken, or even deconstructed and reconstructed into a publishable story.

The concept and author of that one book were, well, not quite all there. Dealing with so many clients, I’m surprised I only had one so far.

Aside from that though, most stories or drafts can be magically turned into something an author will be proud to be author of.

A big problem I see is that new authors sometimes don’t know what a publishable story is.

But, wait a minute …

Let me clarify what I mean about a publishable book because today any story can become published, whether it’s poorly written or a well written story.

When I use the term “publishable,” I’m talking about a book that meets the U.S. standard children’s publishing guidelines.

Three of the top mistakes I see that would warrant taking another stab at your story or demolishing it and starting over are:

1. The point-of-view

You’re writing a picture book or chapter book and have more than one point-of-view (POV).

This can happen when you have two or more main characters in your story or it can happen if you have head-hopping in your story.

Let’s go back a step and define POV. Every story has to be told from someone’s perspective. In other words, who is the story about.

It’s essential in young children’s writing that you clearly define who the protagonist (main character) is. And, there should only be one.

Jerry Jenkins, author of over 190 books, says he avoids slipping into an omniscient viewpoint “by imagining my Point of View or Perspective Character as my camera—I’m limited to writing only what my character ‘camera’ sees, hears, and knows.”

So, POV is a critical element of your story. Check to make sure you have only one POV and its that of the protagonist.

Head-hopping is slipping from one character’s POV to another, within the same paragraph or even same sentence.

In the example below, Tommy is the protagonist:

Tommy dug his cleats in. He raised the bat to his shoulder. A second later he watched the ball heading toward him . . . like a torpedo out of it tube. Without blinking he swung the bat. CRRAACCK. Stunned, he dropped the bat and ran. Did . . . did I just hit the ball.

“Pete,” said Jim with a nudge, “you see that. I didn’t think he’d hit that ball—it came so fast.” Jim threw a pretend pitch. “Look at him running round the bases.”

The second paragraph in the example is a no-no. It’s bringing Jim’s perspective into the story since Tommy couldn’t see or hear him.

Tommy is the protagonist and must know what’s going on in the story or it can’t be in the story.

This could be rewritten, though:

Tommy dug his cleats in. He raised the bat to his shoulder. A second later he watched the ball heading toward him . . . like a torpedo out of it tube. Without blinking he swung the bat. CRRAACCK. Stunned, he dropped the bat and ran. Did . . . did I just hit the ball.

When Tommy raced to home plate, he heard Jim yelling, “I didn’t think he’d hit that ball—it came so fast.”

Now it’s all with Tommy’s point-of-view.

2. Adults save the day.

Children want to read about children. They want the protagonist to solve his own problem.

While parents or other adults in a story can be a support system, their involvement needs to be minimal. The young protagonist needs to come up with the solution to her problem.

In “Stephanie’s Ponytail” by Robert Munsch, Stephanie wants to be unique. Here’s how the story starts:

“One day Stephanie went to her mom and said, ‘None of the kids in my class have a ponytail. I want a nice ponytail coming right out the back.’”

The problem though is the day after Stephanie comes in with that particular ponytail, all the girls in her class have it. So, each day she tells her mother create another specific kind of ponytail. The day after each new ponytail, the class copies her.

At the end, Stephanie comes up with a clever, and funny, idea that cures the class of copying her.

While the mother in involved in the story, it’s Stephanie who comes up with all the ideas. And, it’s Stephanie who solves the problem.

3. Jumping in without learning how to swim first.

You’ve wanted to write a children’s book for years. You have tons of ideas and you’ve even written a couple down. It’s gotten to a point where you can’t wait any longer and you put one of your ideas into a story.

You type or write away and finally have your story, and it seems great.

Picture books can be 10 pages, right? You ‘kind of’ draw, so you can create your own illustrations, right? You have a couple of rhymes here and there, so that’s good, right?

While you may have a great story idea, standard picture books are usually 32 pages - of those pages there are 24-26 for content and illustrations. Unless you’re a professional illustrator you shouldn’t create your own illustrations. And, either you’ve written a rhyming story or not.

There are lots of other elements that you need to be aware or before jumping in to write a publishable book.

So, there you have it, three top children’s writing mistakes.

If I were to give a number 4, it would be that you have TOO much showing in the story. If I were to give a number 5, it would be that you’re trying to knock the young reader over his head with the moral of the story.

Hope these tips help you when you sit down to write your story.

References:

Fiction Writing for Children
http://karencioffiwritingforchildren.com/diy/

POV with Jerry Jenkins
https://jerryjenkins.com/point-of-view/

This article was first published at: https://karencioffiwritingforchildren.com/2018/10/28/are-all-childrens-stories-meant-to-become-books/

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Plot Twists and Your Story

By Karen Cioffi, Children's Ghostwriter

Plot twists are an established tool to writing intriguing stories, whether for books, movies, TV, or other. These helpful tools create a more engaging story for the reader.

According to Wikipedia, "A plot twist is a literary technique that introduces a radical change in the direction or expected outcome of the plot in a work of fiction. When it happens near the end of a story, it is known as a twist or surprise ending."

Plot twists stop predictability and can be used in any genre of fiction.

So, what does that mean?

Imagine your reader, midway through the book, saying to herself, “Oh, yeah, she’s the villain. She did it.”

This is predictability.

Sometimes this is a good thing. Some readers like to know what’s going on. They want the obvious.

But, lots of readers like being surprised.

Remember Thelma and Louise?

People were shocked with the ending.

The main characters spent most of the movie desperately running from the police. When faced with the overwhelming and at times unjust criminal system, they chose freedom … in death.

It was different and completely unexpected.

Then there’s the classics of Edgar Allan Poe.

In “The Telltale Heart,” the protagonist kills an old man for an insignificant reason. He cuts up the body and hides the pieces under the floorboards in his house.

After a short while, he begins to hear a heartbeat … the heartbeat of the old man he just murdered, or so he thinks.

With the police there, being called by a neighbor who heard the old man scream while being murdered, the protagonist panics and confesses to the murder.

Poe did have a knack with the macabre.

Then there are the subtle writers like Kate Chopin.

In her short story “The Story of an Hour,” a young woman, Louise, feels oppressed in her marriage, possibly to the point of having heart trouble.

Louise learns that the train her husband was on had crashed and there were no survivors. Locking herself in her room, she began to feel elated … free.

After a while, her sister, thinking she's greifstricken, coaxes Louise out of her room and they walk downstairs. Just then the front door opens and it’s her husband. He didn’t take the train.

Louise drops dead.

Everyone thinks it’s from happiness at seeing her husband alive. The reader knows the truth.

Plot twists can vary and there are a number of them. The three most common, at least in my opinion, are:

1. The Red Herring

With this one, the clues to solving a crime all point to one particular character. The twist is he’s innocent of the crime.

The reader thinks that he’s got it figured out, then BAM.

2. Chekhov’s Gun

Chekhov is quoted as saying, “One must not put a loaded rifle on the stage if no one is thinking of firing it.”

Elaborating on this, S. Shchukin quotes Chekhov as saying, “If you say in the first chapter that there is a rifle hanging on a wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”

While the quote deals with a gun, it can be anything. The point here is to use details deliberately and effectively; they can lead to great plot twists.

3. Shift Suspicion

This plot twist has the reader thinking they may know who committed the crime, but then clues point to another character. Now, the reader isn’t so sure of who the villain is.

What to Look Out For

One thing to keep an eye out for when writing plot twists is to be sure the reader won’t see them coming. Well, at least the majority of readers.

To help do this, quickly think of possible twists your story can take.

If you can quickly think of them, chances are the reader will think of them too. Solution: Don’t use them.

At Writer’s Edit, it advises, “To combat predictability in your plot, try thinking about the complete opposite of every twist or turn you've noted down.” (1)

Along with this, it’s important that your twists are believable. Don’t randomly throw plots twists into your story to try to keep your readers on their toes. The reader won’t like it.

In a Writer’s Digest article by Rachel Scheller, it says, “Readers want their emotional investment to pay off. The twist should never occur in a way that makes them feel tricked, deceived, or insulted. Great twists always deepen, never cheapen, readers’ investment in the story.” (2)

References:

(1) https://writersedit.com/fiction-writing/10-simple-tips-writing-clever-plot-twists/
(2) http://www.writersdigest.com/editor-blogs/there-are-no-rules/4-ways-to-write-a-killer-plot-twist

This article was first published at: https://karencioffiwritingforchildren.com/2018/10/14/writing-plot-twists-into-your-story/

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author and children’s ghostwriter, rewriter, and coach with clients worldwide. She is also the founder and editor-in-chief of Writers on the Move, and an author online platform instructor with WOW! Women on Writing.

Karen’s children’s books include Walking Through Walls and The Case of the Stranded Bear. She also has a DIY book, How to Write Children’s Fiction Books. You can check them out at: https://karencioffiwritingforchildren.com/karens-books/.

If you need help with your children’s story, visit: https://karencioffiwritingforchildren.com.

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Want to Be a Writer? You’ve Got to Read

By Karen Cioffi

If you want to be a writer, one of the most important things you can do is READ.

So what exactly does that mean, to read?

Read in the Genre You Want to Write

I’ve written about this a number of times. If you want to write, especially for children, you need to read in the genre you want to write.

I did this when I first started out.

When I began writing for children, I went to my local library and got book after book after book on the genre I wanted to write in. The books were by different authors and even publishers.

I studied each book:

- How the dialogue was written and how it was punctuated.
- What type of storylines were used.
- How the conflict was constructed.
- How the text and illustrations worked together.
- The timeframe of the stories.
- How the story was resolved.
- Who the publishers were.
- And so on.

This type of studying is reading as a writer and is a writing course in itself.

But, it’s not enough.

Read About Writing

You also need to read about writing.

There are lots and lots of online sources to help you learn to write.

Read online articles on sites like:

Writer’s Digest
https://www.writersdigest.com/editor-blogs

Good Story Company
https://www.goodstorycompany.com/blog

Word Play
https://www.helpingwritersbecomeauthors.com/

This site, of course: Writers on the Move

And for a much bigger list, check out:
http://karencioffiwritingforchildren.com/diy/resources-for-writers/

Along with this, you should invest in books on writing, especially books that will teach you how to write in the genre you want to write.

Books that I have include:

Bird by Bird (Anne Lamott)
Second Sight (Cheryl B. Klein)
Story Engineering (Larry Brooks)
Writing Fiction (Gotham Writer’s Workshop)
The Modern Writer’s Workshop (Stephen Koch)
Crafting Scenes (Raymond Obstfeld)
Hooked (Les Edgerton)
Breathing Life Into Your Characters (Rachel Ballon, Ph.D.)
The Writer’s Guide to Psychology (Carolyn Kaufman, Psy. D.)
On Writing (Stephen King)
The Giblin Guide to Writing Children’s Books

Find recommended books and books in the genre you want to write. Study them carefully.

Writing Groups

Find one or two groups in the genre you want to write and join them.

These groups are usually filled with seasoned writers, along with newbies.
Many of them also have editors, publishers, and agents in them.

Read the questions asked by other members and the responses. This is another great way to get a writing education. And you'll have the opportunity to ask your own questions.

If you’re a children’s writer, I suggest Society of Children’s Book Writers and Illustrators. It’s filled with writers, marketers, and others in the writing field who know what they’re doing.

Online and Offline Classes

This is an important step.

While you can read and study, which will give you a great start, it doesn’t take the place of learning from a professional writer/author.

Invest in time, effort, and even money if necessary to learn how to write. Invest in you and your writing career. It’s the best way to become a successful writer.

This article was originally published at:
https://karencioffiwritingforchildren.com/2017/08/13/read-as-a-writer/

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author and children’s ghostwriter, rewriter, and coach with clients worldwide. She is also the founder and editor-in-chief of Writers on the Move, and an author online platform instructor with WOW! Women on Writing.

Karen’s children’s books include Walking Through Walls and The Case of the Stranded Bear. She also has a DIY book, How to Write Children’s Fiction Books. You can check them out at: https://karencioffiwritingforchildren.com/karens-books/.

If you need help with your children’s story, visit: https://karencioffiwritingforchildren.com.

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5 Common Themes in Children’s Writing

Contributed by Karen Cioffi, Children's Ghostwriter

I have children’s ghostwriting clients from all over the world and below is what I’ve noticed.

Keep in mind that these clients can be doctors, therapists, dentists, teachers, parents, grandparents, aunts, uncles, and business owners.

I’ve even had adult children as clients who wanted to turn their father’s story, that he used to tell them as children, into a book.

The one thing all these people have in common is they want to share something.

These people want to share their story, their idea, or their experience.

Usually it’s to share it with the world, but once in a while it’s more personal and they just want to share it with their family and friends.

Another common thread among these people is they’re passionate about sharing their story.

They all have a need to get their story out there.

I can be juggling six or seven clients a month and what I’ve noticed is that there are a few themes that keep repeating themselves.

5 Common Themes in Children’s Writing

1. Be yourself.

A lot of adults want children to know that it’s okay to be themselves. Uniqueness and individuality is a big thing now.

- Children don’t have to pretend to be someone they’re not.
- They don’t have to follow others just to fit in.
- Being unique isn’t something to be feared.

2. Bullying

This is another strong theme. Adults want children to know they have options and help if they’re being bullied.

- Children who are being bullied are not alone.
- They need to seek help if they feel overwhelmed by the bullying or if they can’t handle it.
- They shouldn’t put up with any form of bullying.

3. Diversity

Adults want children to know they’re a part of a big world. One that has all types of people in it. And to be a good citizen of the world means to accept everyone as they are.

- Children should be kind to everyone.
- They should try to understand people who are different than they are.
- They should show tolerance toward others.
- Under the exterior, we’re all the same.

4. Friendship

Adults want children to learn the importance of friendship.

- Children should be a good friend to have good friends.
- They should learn how to make friends.
- They should appreciate their friends.

5. Being a good person

This is one of the oldies. Adults want children to know what being good means. They want to show children what the consequences can be if they aren’t.

This theme can cover anything from being mean, to lying, to stealing, to cheating, to not sharing, to …

Think Peter and the Wolf.

Then you have the person who simply wants to entertain children or give them a glimpse into what their life was like growing up.

There are also the professionals who want to help children through stories.

Others may have a passion about a subject and want to kindle that passion in children.

Everyone has their own reasons for wanting to have their story written.

And, of those who want to be author of their own children's book, many don’t have the necessary writing skills or time to write. These are the ones who are willing to invest in their dream of becoming a published author.

About the Author

Karen Cioffi is an award-winning children’s author and children’s ghostwriter, rewriter, and coach with clients worldwide. She is also the founder and editor-in-chief of Writers on the Move, and an author online platform instructor with WOW! Women on Writing.

Karen’s children’s books include Walking Through Walls and The Case of the Stranded Bear. She also has a DIY book, How to Write Children’s Fiction Books. You can check them out at: https://karencioffiwritingforchildren.com/karens-books/. If you need help with your children’s story, visit: https://karencioffiwritingforchildren.com.

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Your Author Platform - Is It Ever Too Soon to Start?

By Karen Cioffi

Newbies to the writing arena have many questions about creating an author platform. And, the most puzzling one is whether they need a website before they have a book published or in contract.

In fact, I’ve recently been questioned twice about whether a newbie with NO book on the publishing horizon should bother to start working on a platform and more specifically on an author website.

Both individuals felt it would be like putting the cart before the horse.

It’s important to know that this, though, is far from the case.

Creating a website at the get-go is putting the horse before the cart. It’s one of the forces that will pull you forward and help you establish your online platform, your presence and visibility.

So, the answer to the title question is NO.

It’s never too soon to begin your author platform or your author website if:

- you want to be a writer or an author
- you intend to submit manuscripts to agents and/or publishers
- you intend to self-publish a book

The time to get your online platform started is RIGHT NOW. And the foundation of your platform is a website.

Keeping up with Marketing Trends

When one author mentioned she was writing a children’s middle grade book and didn’t have a website, I responded that it was a mistake. I told her websites are an essential part of an author’s online platform.

Her reply caught me by surprise. She was advised by a well-known and respected institute for children’s writing that she should wait until she received a book contract before creating a website.

If this were 10 or 15 years ago that advice would make sense. But, today, agents and publishers want to know what the potential new author’s platform is beforehand.

The size or lack-of-size of an online platform can make or break a contract.

The powers-that-be expect you to have a website in place and be involved in social networks before you even submit a manuscript. They expect you to be a big part of the marketing involved in selling the book.

Jane Friedman, Media Studies instructor at the University of Virginia and former publisher of Writer’s Digest, advises that authors must cultivate a relationship with readers every day of your life. And she advises that you start TODAY.

Why do you need to start your online platform TODAY?

In a single word, the answer to that question is TIME. Establishing an online platform takes time.

It takes time to establish yourself as an authority in your niche. It takes time to develop a relationship with your readers. It takes time to develop trust. And it takes time to broaden your reach and acquire followers/connections.

Real life example:

One of my former clients created a website. She also created pages on two of the major social networks. She did all this way before she started to get her book written.

The results? She has thousands and thousands of followers on both social networks. I’m talking about over 30,000 followers at the time of writing this article.

You can be sure I added this information when writing the query letter for her.

Do you think this will make a difference in a publisher or agent’s view of this new author?

You bet it will.

They’ll know she’s able and willing to help sell her books.

Since your website is the foundation of your author platform, it’s absolutely, positively necessary to get a website setup and optimized as soon as possible.

It’s from this focal point, your hub of information, that you will draw the attention of the search engines and readers. You may even catch the attention of a visiting editor, publisher, or literary agent.

Your website is also the place you will get readers to sign-up for your mailing list – further building your marketing reach. It’s the place you will begin a long-term writer-reader relationship.

Think of your author website as the launching pad of your book marketing platform.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, a successful children’s ghostwriter with 300+ satisfied clients worldwide, and an author online platform instructor with WOW! Women on Writing. For children’s writing tips, or if you need help with your children’s story, click the link above.

You can check out Karen’s books at: https://karencioffiwritingforchildren.com/books/

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Writing: Showing vs. Telling

By Karen Cioffi

Yeah, yeah, yeah . . . we’ve all heard of, or read about the showing and telling aspect of writing: you must show, not tell.

But there are those out there just beginning a writing career and may be uncertain as to the importance of this writing strategy.

Well, it’s important.

While there must be some amount of exposition in your story, it should be limited. Work to keep it short and sweet. And, be sure not to use information dump.

But, what exactly does it mean to show rather than tell in your writing?

Writer’s Digest gives some of the best advice I’ve read on this topic. It’s by author and editor Jeff Gerke and is especially helpful to new writers, but useful to us all:

“There’s a question you can ask of any passage you feel may be telling. You ready? Get the passage in front of you and ask this of it: Can the camera see it?”

How great is that?

Now, keep in mind that ‘the camera can’t see it all. Things like tastes, smells, sounds, won’t be visible in the camera, so use your discretion with this tool.

Okay, let’s look at an example of telling:

April walked around in a daze. She felt awful. Her husband left her with two little young children. She cried all the time. She felt overwhelmed, but kept doing the things she had to do. It seemed as if her soul ached, and she felt like screaming. She begged for God’s help.

Here’s an example of showing:

He wasn’t supposed to leave; we promised to stay married forever. April pulled the sheets from her bed and threw them to the floor. Doing the chores and taking care of the kids helped her hold on . . . she had to hold on. How could he leave? Tears trickled down her cheeks. She bent forward with her head in her hands. Please, God, bring him home…please…please help me. Weeping softly in her hands, her body began to tremble; then, the tears gushed. An indescribable ache took hold – in the very depths of her soul – an ache in a place never felt before. A tortured scream crept up into her throat, ready to burst forth. She fell to her knees and buried her face in the mattress. Grabbing a pillow, she pulled it over her head. A blood-curdling scream erupted.

So, that’s the difference.

I made the telling example very basic so you could easily see how they differ.

Showing lets the reader feel the protagonist’s pain, or joy, or excitement. It conveys through action, internal dialogue, and dialogue. This creates a connection and prompts the reader to continue reading.

Sometimes it helps to draw from experiences to get the feeling and words you’re going for. You can also use TV and movies. Watch and study scenes that depict the experience you need to convey. Then, write what you’ve seen.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, a successful children’s ghostwriter with 300+ satisfied clients worldwide, and an online platform instructor with WOW! Women on Writing. For children’s writing tips, or if you need help with your children’s story, visit: https://karencioffiwritingforchildren.com

You can check out Karen’s books at: https://karencioffiwritingforchildren.com/diy/

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Submitting Manuscript Queries - Be Specific and Professional

By Karen Coiffi

All writers face the dreaded query. Did I put enough information? Did I put too much? Did I have a great hook? Am I submitting to the right publisher?

These are just a few questions that run through a writer’s mind when mailing, or clicking the send button for the query. So, how do you answer these questions and the many others that go along with the job of crafting a query?

Well, the first simple response to this question is to READ the publisher’s or agent’s guidelines. Okay, that’s not accurate-you need to STUDY and FOLLOW those guidelines precisely.

Items to watch for when reading those guidelines:

1. What genre does that particular publishing house, agent, or magazine publish?

2. Does the publisher/agent accept simultaneous submissions?

3. Is there a specific word count involved if querying for articles?

4. Does the publishing house accept unagented queries?

5. Does the magazine only accept specific themes, if so, is your article on target?

This list is not complete, there are obviously more items to watch out for. So, we go back to the main rule for querying: FOLLOW the GUIDELINES!

But, following the guidelines is just part of the querying process; you also need to know some inclusion essentials.

Six rules to use that will help you create a winning query:

1. Be professional. Writing is a business just like any other-treat it as such.

2. Be sure to include your contact information: address, telephone number, email address and website.

3. If you were referred by someone include it in the query. Every little bit helps, but be sure it’s a referral from someone the editor actually knows.

4. Write tight – be specific and jump right in. You want to provide enough information to warrant the editor to want more, but you need to keep it to one page.

5. The first paragraph is the pitch-within a couple of sentences you need to hook the editor or agent. The second paragraph is about you, again keep it brief and include your credentials. The third paragraph is your conclusion; thank the editor/agent for his/her time and mention if you are enclosing a SASE and if the query is a simultaneous submission.

6. In regard to your bio: Limit personal information unless it adds to your credentials as a writer qualified to write for this publisher.

A good way to practice for queries and pitches is to write a one sentence out of the ball park description of your manuscript. This will help you to think and write tight and choose the perfect words to hook the reader and convey the essence of your story.

This article first appeared at: https://karencioffiwritingforchildren.com/2015/07/13/submitting-manuscript-queries/

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, successful children’s ghostwriter with 300+ satisfied clients worldwide, and online platform instructor with WOW! Women on Writing. For children’s writing tips. or if you need help with your children’s story, visit: https://karencioffiwritingforchildren.com

You can check out Karen’s books at: https://karencioffiwritingforchildren.com/diy/

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