Writing, publishing, book marketing, all offered by experienced authors, writers, and marketers
Why Distribution Is Critical
4 Tips to Writing a Marketable Kid's Book
Contributed by Karen Cioffi, Children's Writer
Writing is a business, at least if your intent is to sell your writing.
With that in mind, it’s not that the marketing end of your writing should put a damper on your muse, but there are a few key marketing components that you need to keep in mind when writing.
1. Your audience.
It’s been said over and over that you need to have a target market – a target audience for your book.
If you think about it, you’ll realize that’s true.
Imagine you wrote a story about your Alaskan adventure.
Who do you think would be interested in it? Who do you think would buy your book?
Now imagine you wrote a children’s middle-grade fantasy.
Same questions.
But the answers will be different.
In an article at Live, Write, Thrive, the author takes this a step further. She advises to analyze your ‘perfect’ reader. Find out what he likes. Does he have any pets? Does she like sports, music, or art? What’s her family life like? What about school? What about friends? The deeper you go, the better.
With the answers to these questions, you can craft a story tailored toward that reader. Or you can include tidbits that a particular reader can relate to in a story you are already writing.
Maybe your reader is a junior lifeguard and cross-country runner. And, he has an eighty-pound, bronco-jumping Bernedoodle.
With this knowledge, you can craft a story that incorporates elements relative to the readers’ age group without detracting from the story’s creative process.
2. Have a worthwhile theme.
First, what is theme?
One explanation of theme is from MasterClass: “In simpler stories, the theme may be a moral or message: ‘Don’t judge a book by its cover.’ In more complex stories, the central theme is typically a more open-ended exploration of some fundamental aspect of society or humanity.”
The theme should be subtly woven into your story.
But there are occasions when you don’t know what the theme of your story is until it’s complete.
Six of the most common themes are:
-Good vs. evil
-Love
-Redemption
-Courage
-Coming of age
-Revenge
As a children’s ghostwriter, the themes I see most often from clients are:
-Be who you are
-Acceptance
-Being a good friend and making friends
-Kindness
-Bullying
-Environment
For a children’s writer or someone who wants to be the author of their own children’s book, the themes tend to be geared toward bringing awareness to children. The themes are usually about teaching children, guiding them, subtly.
3. Be different.
It’s challenging to come up with a unique story. Everything that can go on in life has been written about.
So, how do you keep your story fresh?
A good way to do this is to study recently published books in your genre. Make the bulk of them traditionally published, as they would have had to get past the gatekeepers.
There are two reasons for researching traditionally published books:
A. As mentioned, the storyline and writing will be good…good enough to make it past the gatekeepers.
B. Publishing houses know what’s being received well and what’s not. They’re doing a lot of research that you can take advantage of.
After you research your contenders, buckle down and write a story that’s better, one that has a different spin. This may take a great deal of effort, but it will help make your story stand out; it will make your story unique.
Want to stay away from popular stuff? Think about historical fiction.
If you go this route, just keep in mind you need an audience that will be interested in it.
You might even get ideas from folktales. Not the ‘overly done’ ones, but older, ancient tales.
Whatever you write, make it your own.
4. Write a good story.
You can take all the steps necessary to create a marketable children’s book, but if the story isn’t properly written, if you don’t have a good story, those steps will be for naught.
A quick breakdown of the elements needed to write a good story:
-Theme (we discussed this already)
-Plot
-Story structure
-Characters
-Setting
-Style and tone
To learn what’s involved in each of these elements, you can check out:
6 Tips on What Makes a Good Story?
If you have any other tips on writing a marketable children’s book, please put them in the comments.
Referenced article: https://www.livewritethrive.com/2014/06/09/3-ways-to-plan-a-marketable-novel/
ABOUT THE AUTHOR
Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture and chapter books). If you need help with your story, visit Writing for Children with Karen Cioffi.
You can check out Karen’s books HERE.
You can connect with Karen at:
LinkedIn: karencioffiventrice
Facebook: kcioffiventrice
Instagram: karencioffikidlitghostwriter
Twitter: KarenCV
Why Every Writer Needs to Publish
Flashbacks and Information Dump
Contributed by Karen Cioffi, Children's Writer
If you're a storyteller, you face a constant balancing act: how to convey essential background information without disrupting the flow of the narrative.
Flashbacks and information dumps are two commonly used writing techniques, each with its own set of benefits and pitfalls. And knowing when to use each is essential for maintaining reader engagement and story coherence.
But how do you tell the difference between them?
FLASHBACKS
When incorporated ‘the right way,’ flashbacks can provide valuable insights into a character's past experiences, motivations, and emotions. They allow readers to delve deeper into the story, bringing a broader understanding of the characters and plot.
However, mishandled flashbacks can disrupt the story's rhythm, pulling readers out of the present action and causing confusion.
INFORMATION DUMP
Compared to flashbacks, information dump entails the straightforward delivery of background information, often through exposition or dialogue.
While these dumps can effectively convey necessary details, they run the risk of overwhelming readers with an excessive amount of information all at once. This can lead to boredom or detachment from the story, as readers may feel immersed in facts rather than the narrative.
Another risk of this writing technique is that the information being presented can feel forced, as if it’s there just to inform the reader of something the author doesn’t think the reader will get otherwise.
Don’t underestimate your reader.
TWO STRATEGIES TO USE TO DETERMINE WHICH IS WHICH
So, how can authors determine whether a particular narrative element is a flashback or an information dump, and how can they integrate these techniques seamlessly into their storytelling?
1. First and foremost, it's essential to consider the purpose of the narrative element in question.
Is it primarily serving to convey a character's backstory and emotional journey, or is it purely for an explanation aimed at providing essential plot details?
If it’s to enhance the emotional journey, it's likely a flashback. If it’s to provide an explanation, it may be an information dump.
2. Next, it’s wise to pay attention to the timing and pacing of the narrative.
Flashbacks are most effective when strategically woven into the story at moments that enhance tension, deepen characterization, or clarify current events.
On the flip side, information dumps should be introduced sparingly and woven organically into the narrative flow to avoid overwhelming readers.
HOW TO USE THESE TECHNIQUES
Flashbacks
Crafting seamless transitions between the present story and flashback sequences is crucial for maintaining reader engagement.
Establish clear cues:
Using cues, such as changes in tense or formatting, to signal the shift in time and place will ease the reader into the transition. In addition, ensure that each flashback serves a specific narrative purpose and advances the story in some meaningful way rather than merely providing background filler.
Dialogue:
Using dialogue, including internal dialogue, can also be a powerful tool for conveying backstory and world-building without resorting to information dumps.
Authors can avoid the pitfalls of excessive explanations by allowing characters to reveal key details through natural conversation, keeping readers invested in the story.
Where to Place Them for the Best Effect:
The timing of flashbacks is vital. Introduce them at moments of heightened tension or emotional significance, where they can provide context or insight into the character's current predicament.
Avoid interrupting the flow of action with unnecessary detours into the past.
Information Dump
Balancing information download:
Information dumps, while sometimes necessary, should be approached with caution. Rather than dumping a large amount of information all at once, sprinkle essential details throughout the story in digestible bites.
Use a mix of exposition, dialogue, and sensory details to weave background information into the story, ensuring that it feels natural and fundamental to the story's progression.
Show, Don't Tell:
Instead of relying solely on exposition to convey backstory, strive to show key events through vivid imagery and sensory details.
Allow readers to experience past events alongside the characters. By engaging the reader's imagination, you can avoid the pitfalls of dry exposition and create a deeper reading experience.
Dialogue as Exposition:
Dialogue can be a powerful tool for conveying information in a natural manner.
Use character interactions to reveal backstory, world-building details, and character relationships. This will allow readers to gather essential information through the subtleties of conversation.
By incorporating exposition into dialogue exchanges, you can maintain story momentum while deepening characterization and moving the plot forward. Just don’t overdo it.
SUMMING IT UP
The bottom line: to get a handle on balancing flashbacks and information dumps, you’ll need to pay careful attention to narrative structure, pacing, and characterization.
By carefully using these techniques and prioritizing the needs of the story and its characters, you can create a compelling story that holds the reader from beginning to end.
ABOUT THE AUTHOR
Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture and chapter books). If you need help with your story, visit Writing for Children with Karen Cioffi.
You can check out Karen’s 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/
Twitter: https://twitter.com/KarenCV
You Can Reach Your Writing Goals
The Magic of Words as Opportunity
Deadlines and Other Powerful Words
Opportunity Writ Large…Again
By Carolyn Howard-Johnson, multi award-winning author of the
HowToDoItFrugally Series of Books for Writers
Deadlines.
I’m not going to give you advice on meeting deadline because I’m in the middle of a booklet for my HowToDoItFrugally Series when I should be nearing the end. I’ve always believed in leaving early for social occasions, and to catch planes. And I’ve never had trouble with deadlines before. Now—suddenly—I’m feeling…inadequate and a little fearful of mentioning the word.
So here I am facing my November deadline for Writers on the Move. I just, well…sorta stole a little segment from the booklet I’m writing to share with subscribers and visitors to Karen Cioffi’s blog as well as her talented slate of regular contributors.
It’s the story of how I came to write a booklet I’m working on. It’s little about deadlines, too, I guess. You’ll have to read between the lines.
Anthropologists tell us we humans have been storytellers since we first gathered around fires for warmth and companionship, long before we entertained the idea of writing. Stories were our entertainment. It’s also how we learned the easy way—from others’ experiences—rather than from our own shortcomings, our own seemingly insurmountable challenges, and our own oopsies. Having said that, when we do learn the hard way, sharing helps us see the value of applying humor to ourselves.
In important moments of working with my first editor, I found myself using the words saying or adage and immediately felt ill-at-ease about my vocabulary skills. I eventually acquired the more acceptable all-purpose word, apothegm when one was suggested in an editing class I was teaching and thereby expected to know about such things. It is somehow both more specific and more adaptable than sayings…and, yes, less humiliating. But it still didn’t let me bore down on the specifics I needed to communicated with editors--nor for my classes and the new book I was writing to use as a text in a class on marketing books. There were available books and texts galore out there but nothing that included public relations for authors, or promotional ideas or getting media attention for books.
In the meantime, apothegms were leading me to all kinds of synonyms with slightly different meanings. They included more precise as well as well as subliminal interpretations for each:
§ mottoes and catchphrases might suggest an unwanted commercialism.
§ proverbs imply a biblical passage; words of wisdom also connote religiosity or a philosophy that might or might not be appropriate for the title in consideration.
§ platitude smacks of cliché, something most of us work mightily to avoid.
§ maxims tend to be about rules of conduct. If an editor suggests you use them to introduce chapters and your book isn’t a “Miss Manners” book, explore the kind of apothegms they had in mind before spending good writing time researching quotations that probably won’t suit the tone of your book.
§ axiom, dictum, adage, and even the word sayings, itself!
Soon I realized that very few authors use these, ahem!…sayings to make a book work as a full book and that maybe if I wrote a short book of vocabulary words related to the needs of authors, the content could help them apply this technique to their books. Different words might work differently for them, but each could be an opportunity for one of my fellows out there.
I had found a way to make the interior design that would make my book more interesting than a theme paper. It wasn’t a new idea, by any means. But it had become an opportunity that kept growing.
I had to self-publish because I was on deadline for my first class that fall. I started introducing each chapter with an apothegm or one of its semi-synonyms, depending on the topic of the chapter. One opportunity kept leading to others. Thinking of apothegms as opportunity, it’s a wonder they haven’t become an essential technique combined with the merest suggestion of interior design in seminars and presentations at writing conferences! (If you are interested in reading Terry’s article, leave a comment at the end of this article and Terry, Karen, or I will send you the permalink a to make it easier for you to access!)
But back to my story. This one “accidental” piece of knowledge worked in favor of my flagship book, my UCLA Writers’ Department students, and is still making itself useful for me nearly three decades later. If you’re familiar with my how-to books for writers, you’ve probably already run across the motto or tagline I came up with early in the pursuit of clarity to replace my old sayings habit:
“Careers that are not fed die as readily
as any living organism given no sustenance."
~ CHJ
I still try to find somewhere to slip that one into all my how-to books for writers and promotional material. But it’s limited. It only works when I want to convince authors that they’ll need a “to know more about a lot of things they never suspected they’d need or wanted desperately to avoid.” It’s also an example of how the work you put into apothegms for one book might be recycled to benefit many books—even many promotional projects like handouts.
And here’s the icing on the cake. This (unfinished!) book has lead to another promotion I haven’t tried before. WinningWriters.com will be giving it as a gift to all those who enter their 2025 #NorthStreetBookPrize contest. If I’m lucky the contest entrants will tell others about it. Opportunity meeting opportunity. Speaking of opportunity! I mustn’t forget to add WinningWriters’ clever pre-promotional idea to the next edition of my The Frugal Book Promoter. That would be its fourth edition. It seems a single word has more power than even I who love words could have imagined.
PS: Once finished, this booklet full of writer-related words, each a powerful opportunity, will be available from Modern History Press early in 2026.
MORE ABOUT TODAY’S WRITERS’-ON-THE-MOVE BLOG CONTRIBUTOR
Badge created by Carolyn Wilhelm for the HowToDoItFrugally Series of Books
Howard-Johnson is the recipient of the California Legislature’s Woman of the Year in Arts and Entertainment Award, and her community’s Character and Ethics award for her work promoting tolerance with her writing. She was also named to Pasadena Weekly’s list of “Fourteen San Gabriel Valley women who make life happen” and was given her community’s Diamond Award for Achievement in the Arts. Carolyn writes nonfiction for writers, poetry, and fiction and has studied writing at Cambridge University in the United Kingdom; Herzen University in St. Petersburg, Russia; and Charles University, Prague. J. She is especially thankful to Karen Cioffi for letting her share stories like this with her #WritersontheMove audience.
Focus on the Details
Contributed by Karen Cioffi, Children's Writer
When it comes to storytelling, the big picture often gets all the attention: impressive plots, sweeping character arcs, and monumental stakes.
While these elements are crucial, the little details are what breathe life into your story, turning a decent narrative into a drawing experience. Details anchor your readers in the world you’ve created, making it vivid, immersive, and memorable.
Think of your favorite books or films. Chances are, what lingers in your mind isn’t just the overall plot but the specific, finely crafted moments: the creak of floorboards in a haunted house, the peculiar way a character twists their ring when they’re nervous, or the vibrant smell of oranges in a market stall.
These details don’t just add color; they serve a deeper purpose, enhancing your story’s emotional resonance and authenticity.
WHY DETAILS MATTER
Building Believability: Details make your world feel real. Whether your story is set in a busy city, in the 16th century, or an other-worldly realm, well-chosen specifics help readers dive in and become immersed in the story.
A medieval castle with generic ‘stone walls and tall towers’ feels bland. But mention the moss creeping between the stones, the faint echo of dripping water in a deserted hallway, or soul-wrenching cries, and suddenly it springs to life.
Deepening Character Connection: Small, unique details reveal a lot about your characters. Instead of saying, “John was nervous,” show how he nervously aligns the pens on his desk until they’re perfectly parallel. This information not only conveys his anxiety but also hints at his perfectionist tendencies, giving readers a deeper understanding of who he is.
Enhancing Emotional Impact: Details tap into the senses, evoking powerful emotional responses. A fight or flight scene becomes far more moving when you describe the size and look of the bully or the rustling leaves and crackling twigs of an approaching menace.
STRATEGIES FOR FOCUSING ON DETAILS
1. Use the Five Senses
Readers engage with a story through their senses, so aim to include sensory details whenever possible. Don’t just describe the bakery on Main Street; bring it alive:
The scent of freshly baked sourdough lingered in the air, mingling with the buttery sweetness of croissants. The glass display case showcased rows of golden pastries, their flaky edges crisp and inviting.
By appealing to sight, smell, and touch, you’ve created a bakery that feels tangible.
2. Be Specific, Not Generic
General descriptions can feel lifeless. Swap out vague phrases for precise ones that paint a clear picture. Instead of writing, “She dressed business-like and looked good,” try:
She took to the high school auditorium stage in dark grey pants, a white, neatly tucked-in blouse, and a matching dark grey jacket. Her usual bulky gold chain necklace and bangled bracelets were missing. She was taking this student body presidency campaign seriously.
Specificity transforms a forgettable image into something vivid and memorable.
3. Make Details Do Double Duty
Every detail you include should serve a purpose. If you mention a character’s ragged-edged fingernails, it might hint at their anxiety or lack of self-care. If the protagonist notices the ticking of a clock during a tense confrontation, it could underscore the urgency of the moment.
In J.K. Rowling’s Harry Potter series, the descriptions of Harry’s cupboard under the stairs—complete with spiders and cramped conditions—don’t just set the scene; they establish his neglected, unloved status.
4. Observe the World Around You
Real life is brimming with details. Note how the sunlight filters through a stained-glass window and creates a rainbow across the floor, the rhythm of footsteps on cobblestones, or the way steam curls from a cup of tea. When you ground your writing in observations from real life, your scenes will resonate more deeply with readers.
5. Avoid Overloading
While details are essential, it’s easy to overdo it. Resist the urge to cram every sentence with sensory descriptions or intricate specifics. Instead, choose the most impactful details that align with the tone and pacing of your story.
For example, a fast-paced chase scene doesn’t need a detailed account of the scenery. Focus on the thudding footsteps, the rasp of labored breaths, and the flash of a shadow turning a corner.
EXAMPLES OF DETAILS AT WORK
Example 1: Setting
Without details: The mountain was huge, and the forest dark and scary.
With details: His gaze slowly traveled up and up and up. The mountain loomed above him like a never-ending wall. Its thick, giant trees and overgrown brush left little space between them for a trail. The faint rustle of unseen creatures whispered through the undergrowth, and the air smelled of damp earth and decay.
The second version immerses the reader, making the forest’s atmosphere relatable.
Example 2: Characterization
Without details: Wang rushed through the wheat fields after a year away.
With details: After a long absence, he rushed through the wheat fields to find his father. The stalks brushed against him, causing a familiar sensation to flow through his body. He had forgotten the sound the stalks made as he passed by, the fragrance they emitted, and even the taste that occasionally made its way into his mouth when binding the cut sheaves or on a windy day.
Here, Wang’s experience is conveyed vividly through imagery.
PRACTICING THE ART OF DETAIL
Adding effective details takes practice. Start by revisiting a scene you’ve written; highlight where generic descriptions can be replaced with more specific ones. Pay attention to places where sensory details could heighten the mood or deepen a reader’s connection to the moment.
You can also try observational exercises. Pick an everyday object and describe it in as much sensory detail as possible. What’s the texture and weight of the object? How does light interact with it? What emotions does it evoke?
SUMMING IT UP
The little details are what transform good stories into unforgettable ones. They root readers in your world, breathe life into your characters, and evoke emotions that linger long after the final page.
By focusing on the nuances—the scent of freshly baked bread, the moss between the stones, the looming mountain—you’ll create a story that doesn’t just entertain but engages.
ABOUT THE AUTHOR
Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture and chapter books). If you need help with your story, visit Writing for Children with Karen Cioffi.
You can check out Karen’s 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/
Twitter: https://twitter.com/KarenCV
Why Distribution Is Critical
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