Benefits of Writing Your Work Using Pen and Paper

 

Guest Post by Christina Q

Sometimes the old ways of doing things are better.

I began my writing journey when I was in the third grade, and back then we didn’t have computers so everything I did was handwritten.
 
Once computers came around writing became a breeze. No more hand cramps, or swollen fingers. No more tennis elbow!
 
However, something strange happened recently. As I was editing my novel for submission, I noticed those annoying red, green, blue, and yellow lines!
 
I was hit with an AH-moment.
 
The lines highlighting my mistakes are distracting!
 
When I realized this, I did some googling, cause that’s what you do when you are distracted and you need to do something while you’re in front of a computer, right? It was then I discovered something revolutionary.
 
And it was simple.
 
And it was something I had been doing since I was a little girl.
 
Handwriting out my work.

Here are three benefits of writing your work using pen and paper:
 
1.     Distractions
The moment I opened the notebook, picked up a pen and began writing three hours flew by. There were no lines, no distractions just me and the words. And it was liberating. I understand those things are meant to help our writing, but it also hinders the writing process.

Of course, you can turn those lines off but what about the internet? Sure, you could download a bunch of apps and do some fancy stuff but hey, you know how to turn that off.
 
2.     No pressure
Writing with a pen left no pressure. If I made a spelling mistake or forgot a something, I wasn’t filled with the pestering feeling that I needed to go back and rework the sentence or fix anything.
 
3.     Plot builds naturally.
The inspiration I subscribed to was the Four Notebook Method, which you can google about and take the course. In general, you use the four notebooks in an organized way to build your story like so:
 
·      Notebook 1: This is where your problem starts. Things are so bad that by the end something has to give!
·      Notebook 2: Here we create the challenge that our problem in Notebook 1 caused, but by the end, things start looking up.
·      Notebook 3: In this notebook, things go from bad to worse. This is where your characters ask themselves, can we ever solve this issue?
·      Notebook 4: Big finish! This is the confrontation or the change that happens. You know where everything comes together or leaves on a cliffhanger.
 
I know convincing someone to ditch the computer and return to the Stone Age is a hard nut to crack but trust me. But the freedom to create and explore your imagination is worth the callus returning on your finger (in my case my ring finger), and the hand cramps.
 
Since adopting this method, I’ve never felt more refreshed and excited about writing. Bringing back the love I had when I first discovered story writing in the third grade.

So, what are you waiting for, go get yourself some notebooks!  
 
ABOUT THE AUTHOR
 
Christina is the Friend-obsessed creative behind Christina Q Writes. As a full-time freelance writer, she helps clients in need of fantastic content. Christina Q Writes is where she tips on awkwardly getting through the day, with or without a good glass of wine or a good cry.  
 
Instagram:@Christinaq.Writer
 
Links: Website: https://www.christinaqwrites.com
 

Writing: Context, Content, Conclusion

 

Contributed by Margot Conor

Popular stories normally have what is called a three C’s structure. Context, content, and conclusion. They are the crucial components that can be applied at various levels of your writing to ensure clarity coherence and impact. Context, which is the why of it. Followed by the content, which can be the details of a paragraph, or an entire story, and finally the conclusion.

This is a simple way to break down your process and can be applied in a tight construction for example in every paragraph. Or can be used more loosely for each chapter or section.  

If you are writing a short story, you may only use the three C’s once. Creative writers tend to apply these without really thinking about it. It’s the pattern of story-telling we grew up with, it’s what we know from fairy tales.

As an exercise, you might try consciously using the three C’s in each paragraph of a story. I believe if you are a Plotter you will find this technique easy. As a Panster, thinking of doing that makes my head wobble. It is far too constricting. However, once per chapter is doable.

WITHIN EACH PARAGRAPH

1.    Context: Start each paragraph by providing context. This sets the stage for the reader and ensures they understand the background or the main point that will be discussed. This could be a sentence or two that introduces the topic or provides a transition from the previous paragraph.

2.    Content: Follow with the main content of the paragraph. This is where you present your key ideas, arguments, evidence, or details. Ensure that the content is well-organized and focused on the paragraph's main idea.

3.    Conclusion: Conclude the paragraph by summarizing the main point or providing a transition to the next paragraph. This helps reinforce the key message and prepares the reader for what's coming next.

WITHIN EACH SECTION OF A STORY OR CHAPTER

1.    Context: Begin each section or chapter with context. This could involve setting the scene, introducing characters, or providing necessary background information. Context at this level helps orient the reader within the broader narrative.

2.    Content: Develop the main ideas or plot points within the section. This is where the bulk of the story unfolds, characters develop, and key events take place. Ensure the content is engaging and drives the narrative forward.

3.    Conclusion: End each section with a conclusion that wraps up the events or ideas discussed. This could be a cliffhanger, a resolution of a conflict, or a summary of key points. A strong conclusion at this level keeps the reader engaged and eager to continue.

WITHIN THE ENTIRE STORY

1.    Context: Provide context at the beginning of your short story. This includes the setting, initial character introductions, and the premise. The context should be compelling enough to hook the reader from the start.

2.    Content: Develop the story or chapter with rich content. This includes plot development, character arcs, and thematic exploration. Ensure that each chapter contributes to the overall narrative and keeps the reader engaged.

3.    Conclusion: Conclude the story or chapter with a satisfying ending. This could involve resolving the main conflict, providing a twist, or setting up for the next part of the story. A strong conclusion leaves a lasting impression and provides a sense of closure or anticipation.

Examples

If you examine the stories or books you’ve read, or even the movies you watch, you will be able to point to where this structure is applied. Here are a few examples of Context from Fairytales that introduce key elements of the story that follows:

1.    Cinderella
o    Context: "Once upon a time, in a faraway kingdom, there lived a beautiful young girl named Cinderella. She was kind and gentle, but her life was made miserable by her wicked stepmother and stepsisters."
o    Explanation: This opening line provides the reader with essential background information: the setting (a faraway kingdom), the main character (Cinderella), her positive qualities (kind and gentle), and the source of her conflict (wicked stepmother and stepsisters).

2.    Little Red Riding Hood
o    Context: "Once upon a time, there was a little girl who lived in a village near the forest. She always wore a red riding cloak, so everyone called her Little Red Riding Hood."
o    Explanation: This context introduces the main character (Little Red Riding Hood), her distinctive feature (red riding cloak), and her environment (a village near the forest). It sets up the reader to understand the character's identity and where the story takes place.

3.    Snow White
o    Context: "Once upon a time, in the middle of winter, when snowflakes were falling like feathers from the sky, a queen sat sewing at her window, which had a frame of black ebony wood."
o    Explanation: This opening provides a vivid description of the setting (winter, snowflakes, queen sewing), establishing the scene’s mood and hinting at the magical elements that will be important in the story of Snow White.

4.    Hansel and Gretel
o    Context: "Once upon a time, a poor woodcutter lived at the edge of a large forest with his wife and two children, Hansel and Gretel."
o    Explanation: The reader is introduced to the main characters (woodcutter, his wife, Hansel, and Gretel) and their living situation (poor, edge of a large forest). This context sets the stage for the challenges and adventures the characters will face.

CONTEXT IN DIFFERENT PARAGRAPHS AND SECTIONS

Applying the concept of context within different parts of a fairytale can ensure each section or paragraph is clear and sets up the subsequent content effectively.

1.    Within a Paragraph:
o    Context: "As she walked through the forest, Little Red Riding Hood felt the cool breeze and heard the rustling leaves."
o    Content: "She admired the tall trees and picked some wildflowers along the path."
o    Conclusion: "But soon, she realized she had wandered far from the familiar path."
2.    Within a Section:
o    Context: "The king's castle stood high on a hill, overlooking the entire kingdom."
o    Content: "Inside the grand hall, the king sat on his throne, worried about the future of his realm. Advisors and knights were gathered, discussing the imminent threat."
o    Conclusion: "As the discussions continued, a messenger burst through the doors with urgent news."

By using The three C’s effectively at different levels, writers can ensure their readers are always oriented and engaged, understanding the background and the significance of the events as they unfold.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

Is It Time To Let It Fly?

 

 Contributed by Karen Cioffi, Children's Writer

A manuscript is a funny thing. It seems it can be revised, edited, and proofed indefinitely.

Then you get to a point where you think it might finally be there.

But, as every good writer should do, you go over it yet again.

At this point, it’s strongly advised that you take at least a week to two weeks, possibly more, before giving your manuscript a final read-through.

This strategy will help you find errors, content that can be tightened, gaps, and so much more that you couldn’t possibly catch if you read it every day.

After you've let it rest for a couple of weeks and have made any necessary revisions and edits, you're on your way.

When Should You Move Past Your Own Editing Skills?

When your manuscript is as good as you can get it, it's time to think about a professional editor. Of course, this depends on your budget, but if at all possible, it's worth the investment.

If this is not an option, you might give the final manuscript to your critique group or maybe a writing friend or a writer in one of your groups just to have another set of eyes on it.

While all this reviewing and tweaking is a good thing, there is a point when you need to let it go if you ever want to see your manuscript take off and fly.

It’s important to note that this revision and editing process should take place whether you’re traditionally publishing or self-publishing. Whichever road you take, you want your book to be the best it can be. You want it to be professional.

Just as there are steps to take to get your manuscript ready for flight, there are a couple of things you should avoid.

What to Avoid

1. Don't rely on children.

I've had clients who have read their manuscripts in front of age-appropriate classrooms or friends of their children.

While this can give some insight as to whether the story is engaging to the targeted reader and which parts are the most engaging, you shouldn't base revisions and edits solely on their opinion.

Children don't understand the rules of writing.

2. Don't rely on non-writer, amateur opinions.

I've had clients who had friends and other parents read their stories, asking for their input.

Again, while this can be helpful in some aspects, they don't know the rules of writing.

When looking for those extra eyes on your manuscript, make sure it's a writer who understands what she's looking for.

When Should You Let Your Manuscript Fly?

You've taken all the steps necessary to get your manuscript in its best shape. Now it's time to research publishers and/or agents and let your manuscript fly.  

If you're a children's writer, I recommend Children’s Writer’s & Illustrator’s Market (Current Year). This is a trusted guide for authors seeking appropriate publishers and agents.

If you're NOT a children's writer, you can check out Writer's Market (Current Year). It's also a trusted guide that lists publishers and agents to submit to along with lots of other information.

Always check all information you can find on a publisher or agent you're interested in. Read their guidelines carefully and follow those guidelines even more carefully.

If you’re self-publishing, it’s time to research professional illustrators (if you’re writing a children’s picture book or chapter book, or even middle-grade book).

After illustrations, you’ll need to find a service that will take your files and turn them into ebooks and/or paper books.

Now, watch your manuscript fly.

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:

 

FICTION WRITING FOR CHILDREN ECOURSE

A guided self-study course and mentoring program.

 HOW TO WRITE A CHILDREN'S FICTION BOOK

A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE PRESS

Self-publishing help for children’s authors.

Build Your Brand

 

Contributed by Margot Conor

While you are writing your novel, or even when it is just an idea in your head, start to build your brand. Research your genre niche. Put in a little time each day to seek out other authors who write in your genre and in the style you admire. Study what they communicate to their readers. Look at the websites those authors have created. Imagine who your ideal readers are and create a brand for them.

This is the key to everything, it is not for you, it’s for your readers, your fans. Everything you create is for them.

What is a brand?

This is your identity as a writer. It involves more than what you write. It is also about the visual presentation you create. Your online presence needs to be carefully crafted to present who you are. The images, backgrounds, typeface, the colors you choose the logo or banner you create.

It is all about creating a mood and evoking an emotion. Your style should be genre-specific and carefully crafted to appeal to your audience. People are visually stimulated; it’s why good covers sell more books.

You need to entice your readers with visual information which draws them into the world you’ve created. Do this magic in all the places where your author’s presence is available.

Potential readers or agents need to be able to find you when they do a Google search with your author’s name. The wider your presence the more professional you look. The more established your platform is, and the more engaged followers you have, the better. That is your goal.

How do you find engagement?

It may surprise you, but it’s not only by talking about your projects, or the book you just released. And it’s not only talking about your writing and marketing process.

Your fans will want to know who is behind the creation, and what you care about.

So, what you can offer in way of encouragement or advice from your personal experience about issues that others are curious or concerned about?

 Show your excitement or concern for topics that matter to you and them.

Make posts about things that you want to learn or have learned. Ask your audience questions and let them know their opinion matters to you.

Look for insights from more knowledgeable authors or experts. In this way, you will organically grow your audience and find a like-minded cohort of authors and readers.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

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Your Story's Setting - It's More Than Just Scenery

 

Contributed by Karen Cioffi, Children's Writer

Setting informs the reader of the time and place of your story.

It can include the period, the physical location, the climate, and the social surroundings.

But it can do a lot more.

An example of this is the middle-grade book Walking Through Walls. It’s set in 16th-century China, and speech, descriptions of behaviors, clothes, trades, food, and more all add to the authenticity of the time period.

This allows the reader to get a feel for the environment the protagonist lives in and helps immerse the reader in the time period.

Your setting descriptions can be powerful.

1. It takes a village to raise a child.

Okay, that tip #1 heading is a stretch.

What that means is it takes all the senses when describing setting. Don’t limit it to just one.

It seems the most authors stick to the scenery—what can be seen. While this is an important sense, the reader will become more involved if there’s more to ‘feel.’

To make your setting come alive, your fictional landscape, use as many senses as you can. You should include smell, touch, sound, and even taste if the story allows.

In Walking Through Walls, the protagonist Wang is walking home:

Wang ambled back to the cottage. He noticed his favorite flower, the lemon lilies, in full bloom. They draped the landscape. Hmm, they smell so good.

While that passage doesn’t go into detail, it brings the smell of the lemon lilies into the reader’s mind, bringing another sense into the picture.

Here’s another scene from Walking Through Walls:

Tired and hungry, Wang trudged through fog thick as porridge.

This gives the reader a bit more insight into Wang’s journey. Again, while it’s not explained in detail, the fog might have felt damp on his skin. Maybe it left beads of water on him. The reader has something more to picture and imagine than just a fog.

The senses can also help to bring backstory into the story. Through taste, smell, and even texture, the character can remember people or times from their past, enlightening the reader about important elements of the character’s history.

2. Use your character’s emotions to describe settings.

If your character is in a good mood or reflective, he will sense the world around him much differently than if he’s in a bad mood or angry.

Going back to Wang and the lemon lilies, if he’s happy, he might bend down and pick up one of the flowers, bring it up to his face, and take in the sweet odor.

If Wang is angry, he might trample over the lemon lilies, grumbling under his breath.

How the character reacts to or describes his surroundings will add an element of emotion.

3. Treat your setting like part of your story.

Your setting can create a deeper experience for the reader. Using rich details will help the reader dive further into the story, feeling like she’s there.

It helps the reader understand what the character is feeling and what he’s facing.

Here’s a passage from Walking Through Walls:

Slowly, his gaze traveled up and up and up until he could see no further. The mountain loomed above him like a never-ending wall. Its thick, giant trees left little space between them for a trail.

This gives the reader a pretty good picture of what Wang was facing, bringing the reader into the story.

4. Add just enough setting description.

Okay, you’re a writer, and writing every little detail about a setting may come easy. You might want to capture it from multiple views or describe every color.

Well, if you add too many details that aren’t important to the story, the reader may get bored and skim over that section.

This may lead the reader to wonder what other sections she’ll have to skim over.

While you want to keep the setting descriptions within limits, the description or detail you include should do more than show where the characters are, if at all possible. Think emotional state, symbolizing, evoking a memory, etc.

Going back to Wang, looking up at the formidable mountain foreshadowed the difficult journey he had begun.

Like the rest of the story, the setting description should move the story forward.
 
The setting and its descriptions help create a connection between the reader, the character, and the story.

But…

If you’re writing a children’s picture book, you can ignore the above.

The illustrations in a picture book fill in all the setting descriptions. They show the emotions, surroundings, and characters… they show what the story text doesn’t say.

It’s a whole different writing experience.

This article was first published at:
https://karencioffiwritingforchildren.com/2021/07/25/how-to-make-your-storys-setting-come-alive/

ABOUT THE AUTHOR

 

 

 

Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and coach with clients worldwide. If you need help with your children’s story, please visit Karen Cioffi Writing for Children.
 
Karen also offers HOW TO WRITE A CHILDREN’S FICTION BOOK.
A 250+ page book that will help you get started or finish your children's book.

And for those children’s authors who are self-publishing, you might check out WRITERS ON THE MOVE PRESS.
 

Include Diversity in Your Characters

Using Your Author Platform for Change
Contributed by Margot Conor

Authors have a powerful platform to challenge established role models and inequities in society through their writing. By using their platform to provoke thought, inspire change, and amplify marginalized voices, authors can contribute to a more equitable and inclusive literary landscape. Here are several ways they can do so:

1.    Representation and Diversity: By representing a diverse range of characters in their writing. By portraying characters from marginalized communities in prominent and empowered roles, authors can challenge stereotypes and promote inclusivity.

2.    Subverting Tropes: By subverting traditional tropes and expectations in their writing. For example, they can create complex and multidimensional characters who defy gender norms, challenge societal expectations, and break free from stereotypes.

3.    Exploring Power Dynamics: Challenge inequities by exploring power dynamics and privilege in their writing. Through nuanced portrayals of characters from different backgrounds and social classes, authors can highlight the ways in which systemic inequalities shape individual experiences and opportunities.

4.    Addressing Social Issues: Challenging established role models by addressing social issues such as racism, sexism, homophobia, and economic inequality in their writing. By shining a light on these issues and examining their impact on characters and communities, authors can provoke thought and inspire change.

5.    Empowering Marginalized Voices: Authors can challenge inequities by amplifying the voices of marginalized communities in their writing. By centering stories around characters from underrepresented backgrounds and giving them agency and autonomy, authors can empower readers to see the world from different perspectives and challenge their own biases.

6.    Promoting Empathy and Understanding: Authors can promote sympathy and understanding in their writing by portraying characters with empathy and compassion, authors can encourage readers to see the humanity in others and recognize the ways in which their own actions and attitudes contribute to inequality.

7.    Offering Alternatives: Authors can offer alternative visions of society and culture in their writing. By imagining worlds where traditional hierarchies are dismantled, and individuals are free to be their authentic selves, authors can inspire readers to envision a more equitable and inclusive future.

Avoiding Cultural Appropriation

Navigating the line between ethnically inclusive writing and cultural appropriation can be complex, especially for authors who are white. However, there are several ways they can strive to be inclusive without appropriating cultures:

1.    Research and Sensitivity Reading: Authors should conduct thorough research into the cultures they wish to represent in their writing. This includes reading books written by authors from those cultures, consulting cultural experts, and seeking feedback from sensitivity readers who can provide insights and ensure accurate representation.

2.    Avoid Stereotypes and Misrepresentations: Authors should be mindful of avoiding stereotypes and misrepresentations when depicting characters and cultures. Instead, they should strive to create nuanced and multidimensional characters who reflect the diversity and complexity of real people.

3.    Show Respect and Humility: Authors should approach the task of writing about cultures outside their own with respect, humility, and a willingness to listen and learn. They should be open to feedback and willing to make changes to their writing based on the insights of cultural experts and sensitivity readers.

4.    Focus on Universal Themes: While it's important to acknowledge and celebrate cultural differences, authors should also focus on universal themes and experiences that resonate with readers from all backgrounds. By highlighting the common humanity that binds us all, authors can create stories that are inclusive and accessible to a wide audience.

5.    Collaborate with Diverse Voices: Authors can collaborate with authors and creators from diverse backgrounds to ensure authentic representation and avoid cultural appropriation. This can include co-writing projects, consulting with cultural advisors, and seeking input from members of the communities being represented.

6.    Acknowledge Privilege and Power Dynamics: Authors who are white should be mindful of their privilege and the power dynamics at play when writing about cultures outside their own. They should approach the task with humility and a willingness to interrogate their own biases and assumptions.

7.    Promote Own Voices Literature: Authors can support and promote literature written by authors from the cultures they wish to represent. By amplifying diverse voices and ensuring that marginalized authors have opportunities to tell their own stories, authors can contribute to a more inclusive literary landscape.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

 

 

The Who, How, and Why of a Children's Ghostwriter

 

 

Contributed by Karen Cioffi, Children's Writer

A while ago, I had a conversation with a fellow attendee at a children’s picture book workshop. When I mentioned I’m a children’s ghostwriter, she was curious how I got started in the field.

I couldn’t answer her. I couldn’t remember how it actually came about.

Thinking back, though, I did start out editing for authors. Many of the manuscripts I received were in such poor condition that I ended up rewriting the stories, some almost to the point of ghostwriting.

It just seemed to evolve from there.

In case you’re wondering, a ghostwriter is a writer who will take your idea, notes, outline, or other information and write a story for you. And they write in every genre you can think of: fiction, nonfiction, memoirs, screenplays, video, TV scripts, technical, medical, speeches, music, and so on.

The ghostwriter offers a nondisclosure agreement if the potential client wants one. Most of my clients never ask for one. The ghostwriter also provides a freelance agreement. And she usually doesn’t get any recognition for her work. However, there are instances where the ghostwriter and client agree to other terms.

Two other terms that may arise between a ghostwriter and a client:

1. The ghostwriter has her name on the book as co-author for a reduced fee.

2. The ghostwriter gets a percentage of the sales, again for a reduced fee.

In my opinion, it’s never a good idea to accept either of these terms unless you absolutely know the book will be successful or the author is famous.

WHO hires a children’s ghostwriter?

The answer to this question always amazes me.

There are people from around the world who want to be the author of a children’s book but don’t have the skills, time, or inclination to do it themselves.

I’ve worked with well over 350 clients from lots of different countries, including Italy, the United Kingdom, Scotland, Norway, Saipan, Jordon, Dubai, and all over the United States, even Hawaii.

It seems that most often, it’s parents or grandparents who develop a desire to be authors of children’s books. They usually want to have a story created about their children or grandchildren or impart some wisdom to children.

I’ve also worked with child therapists and child psychologists who use children’s books as a tool to broaden their ability to help children.

And then there are the business people who see a children’s book as part of a marketing strategy for their industry or as an addition to a product they already have.

In addition to this, I’ve worked with clients who wanted a series of children’s books to use as the foundation of a new business.

I’ve even ghostwritten for a dentist.

WHAT skills does a children’s ghostwriter need?

1. Being a skilled writer.

While a number of authors who self-publish have the “I want it now” syndrome and ‘wing’ their books into publication, you can’t do this when someone is paying you to write a professional story.

Aside from knowing how to write, it’s essential to understand the specific rules of writing for children. The ghostwriter needs to know what the current industry guidelines are.

2. Knowing how to listen.

Listening carefully to the client is a must. The ghostwriter needs to take simple things like an idea given over the phone or in an email, notes, or a basic outline and create an engaging and publishable book.

Along with this, the writer needs to ensure the book reflects the client’s voice and vision. Listening is an essential factor in doing this.

3. Being patient.

It may seem unusual, but a ghostwriter needs to be patient.

I’ve had a couple of clients who approved a final story, then came back in a week or two and decided they wanted revisions.

I had a middle-grade client who kept putting multiple POVs within one chapter. I’d edit it, and he’d change it again.

I had another client who kept ignoring my advice as I rewrote his young adult novel.

It’s important to be patient and tactful while explaining over and over why something doesn’t work. The reason to keep after the client is that it’s the ghostwriter’s job to make sure the final product is professional.

4. Being organized and focused.

I usually handle more than one project at a time. I’m currently juggling ten clients; it’s an all-time high number of simultaneous clients for me.

If you’re dealing with multiple clients, you need to be able to switch stories and sometimes genres without losing a beat. This takes focus… and flexibility while handling all the emails from clients.

For organization, I use a Word and Excel file for each client. I keep track of every email and every phone call.

When you’re dealing with writing clients, you must things moving smoothly and keep your clients satisfied and in the loop throughout each project.

5. Having the ability to follow through and be on time.

As with any writing project, you’ve got to complete it and come in on time.

In the terms of the agreement, there is a time period for the project to be complete. The ghostwriter must meet the deadline.

WHAT'S the motivation?

I can’t speak for all children’s ghostwriters, but for me, I love writing for children. It’s satisfying to teach children, engage them, amaze them, take them on adventures, and stretch their imaginations.

And I love helping others fulfill their desire to see their children’s story ideas come to life.

ABOUT THE AUTHOR

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

Karen also offers HOW TO WRITE A CHILDREN’S FICTION BOOK.
A 250+ page book that cover everything to help you write your children's book.

And for those children’s authors who are self-publishing, you might check out WRITERS ON THE MOVE PRESS.

Using Personality Typologies to Build Your Characters

 

Contributed by Margot Conor

People often have asked me how I build such varied and interesting character profiles. I’m fond of going into deep POV and to do that, I need to know who they are, what they care about, what they seek, and what they avoid. At the heart of those questions is… why?

I build each character with a back history, which may or may not be exposed in the body of the story. They just need to live in my mind, fully formed. I need to feel their pain and touch the private tender things they want to keep secret. I want to know what drives them to do foolish things, what makes them brave or reckless.

I give them complex personalities. To find their hang-ups, and fears, and decide what sort of baggage they’ve brought with them. I need to know what they went through before they entered my story. I have to find the trauma that tarnished them and the promises that gave them hope.

So, you might have a clue by reading the title of this article. I use personality typologies. I don’t use the same system all the time. They are all useful and they vary in complexity. It depends if I am building a profile for a main character or someone who has a brief appearance in the story. No matter how insignificant the role they play I still don’t want them to be a simple archetypical villain or hero.

I also don’t want the villains to be all bad, if there are aspects of their personalities you can sympathize with it makes them more interesting. And of course, if the protagonist doesn’t have flaws, it’s hard to relate to them. They need a journey of discovery. A way to grow with the challenges they face.

Below is a quick look at the systems I draw from:

The oldest typology I know of is Hippocrates’ Four Temperaments. (460–370 BC). A system based on the four humors. A fifth was later added when published in 1958.

FIVE TEMPERAMENTS:
Your temperament is considered innate, influenced by genetics. They are often like a parent or grandparent. External factors such as negative and positive childhood experiences also factor in. Temperament is a little different or more basic than personality. It deals with how you move through your life and engage with people and challenges.

Sanguine: quick, impulsive, and relatively short-lived reactions.
Phlegmatic: a longer response-delay, but short-lived response.
Choleric: short response time-delay, but response sustained for a relatively long time.
Melancholic: (Also called “Melancholy”) long response time-delay, a response sustained at length, if not, seemingly, permanently.
Supine: (added later) Describes a person who is a servant and feels that he or she has little or no value.

MYERS BRIGGS:
16 personality types. To use these properly you need to read the full profile for each one, but here is a brief overview: the following descriptions are copied from: https://www.16personalities.com/personality-types

The Analysts:
Architect: Imaginative and strategic thinkers, with a plan for everything.
Logician: Innovative inventors with an unquenchable thirst for knowledge.
Commander: Bold and imaginative, strong-willed leaders.
Debater: Smart and curious thinkers who can’t resist an intellectual challenge.

The Diplomats:
Advocate: Quiet and mystical, inspiring, and tireless idealists.
Mediator: Poetic, kind, and altruistic, always eager to help a good cause.
Protagonist: Charismatic and inspiring leaders, able to mesmerize their listeners.
Campaigner: Enthusiastic, creative, and sociable free spirits.

The Sentinels:
Logistician: Practical and fact-minded, their reliability cannot be doubted.
Defender: Very dedicated and warm protectors, always ready to defend their loved ones.
Executive: Excellent administrators, unsurpassed at managing things or people.
Consul: Extraordinarily caring, social, and popular. Always eager to help.

Explorers:
Virtuoso: Bold and practical experimenters, masters of tools.
Adventurer: Flexible and charming artists, always ready to explore something new.
Entrepreneur: Smart, energetic, and very perceptive. They enjoy living on the edge.
Entertainer: Spontaneous, energetic, and enthusiastic. Life is never boring around them.

ENNEAGRAM:
To fully take advantage of this system you need to read the full bio for each type. But here is an overview (the following is copied from this site: https://www.enneagraminstitute.com/type-descriptions/)

1 THE REFORMER
The Rational, Idealistic Type: Principled, Purposeful, Self-Controlled, and Perfectionistic
2 THE HELPER
The Caring, Interpersonal Type: Demonstrative, Generous, People-Pleasing, and Possessive
3 THE ACHIEVER
The Success-Oriented, Pragmatic Type: Adaptive, Excelling, Driven, and Image-Conscious
4 THE INDIVIDUALIST
The Sensitive, Withdrawn Type: Expressive, Dramatic, Self-Absorbed, and Temperamental
5 THE INVESTIGATOR
The Intense, Cerebral Type: Perceptive, Innovative, Secretive, and Isolated
6 THE LOYALIST
The Committed, Security-Oriented Type: Engaging, Responsible, Anxious, and Suspicious
7 THE ENTHUSIAST
The Busy, Fun-Loving Type: Spontaneous, Versatile, Distractible, and Scattered
8 THE CHALLENGER
The Powerful, Dominating Type: Self-Confident, Decisive, Willful, and Confrontational
9 THE PEACEMAKER
The Easygoing, Self-Effacing Type: Receptive, Reassuring, Agreeable, and Complacent

FOUR PERSONALITY TYPES:
Robert S. Hartman, an American philosopher and psychologist, developed the four-type personality system. This system categorizes people into four different types based on their natural tendencies.

A: ANALYTIC: ambitious, workaholic, organized, goal-oriented, perfectionist, impatient, competitive
B: BEHAVIORAL: Easy going, non-competitive, less prone to stress, stable, adaptable non-confrontational, work steadily toward their goals, adapt to changes in plans, flexible.
C: COMMUNICATIVE: Collaborative, calm, rational and logical, thoughtful, and caring, introverted
D: DEDUCTIVE: Sensitive, shy, prone to anxiety and depression, avoidant.

EIGHT PSYCHOANALYTIC PERSONALITIES by Nancy Williams:
I do a deep dive into these for troubled characters and villains.
Used in modern psychoanalytic diagnosis you can read about it here for an overview: https://en.wikipedia.org/wiki/Nancy_McWilliams

Psychopathic: (Antisocial), Narcissistic, Schizoid, Paranoid, Depressive, Manic, Masochistic: (self-defeating), Obsessive, Compulsive, Hysterical (histrionic), Dissociative.

JUNG – FOUR FUNCTIONS OF CONSCIOUSNESS:
https://www.thesap.org.uk/articles-on-jungian-psychology-2/carl-gustav-jung/jungs-model-psyche/

Sensation: perception using immediate apprehension of the visible relationship between subject and object.
Intuition: perception of processes in the background, unconscious drives, or motivations of other people
Thinking: function of intellectual cognition, the forming of logical conclusions.
Feeling: Function of subjective estimation, value-oriented thinking
Attitudes:
Extraverts: seek greater stimulation, energized around people, think out loud, large social networks, thrive in teams, and crowds, enjoys being the center of attention, values broad experience.
Introverts: Seek less stimulation, recharges with quiet reflection, think before speaking, values one-on-one friendships, favors independence, avoids being the center of attention, values deep experience.

I hope this list helps you find characteristics to build multidimensional characters.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

Just How Important are Character Descriptions?

 

Contributed by Karen Cioffi, Children's Writer

To answer the title question, character descriptions are essential.

It’s these descriptions that give the reader insight into the character and let the reader know:

-What type of person she is
-What his family is like
-What his education status is
-What her hobbies are
-What she’s passionate about
-What she’s afraid of
-What his physical details are
-What his social standing is
-Where she lives

The list can go on to include talents, sports, beliefs, and so much more if the story calls for it.

Just a simple description of a character drawing tells the reader about him. Maybe he’s artistic. Whether he’s talented at it or not will give another element of his personality.

Suppose he’s terrible at drawing but does it anyway. What can that tell the reader about him? Possibly he’s determined. He may march to his own drum, or he just likes it and doesn’t care about excelling in it.

Maybe another character studies all the time and gets all As. Maybe the character studies all the time and barely passes. This gives a big clue as to the ‘character’ of these characters. The one who gets all As is driven. The one who barely passes may not be driven but knows that without struggling, she’ll fail. Possibly, character isn’t as intelligent as the first.

What if a character is always yelled at and put down by his father? Might that help the reader understand the character’s behavioral issues?

EXAMPLES

-In the first couple of pages of middle-grade Walking Through Walls, the main character Wang, is described as being disgruntled. He doesn’t like hard work. He’s impatient, and he fights with his sister.

Right off the bat, the reader knows a lot about this character. The reader may even be able to see himself in the character. This makes a connection.

-What if a description shows that a character is disabled and in a wheelchair but strives to do everything she physically can, even playing sports? What does this tell you about the character?

-How about a description of a teen character lifting weights? This simple activity, combined with a couple of other details, can tell you a lot about his physical and emotional state.

Maybe he wants to be strong and look good. Maybe he’s physically weak and is being bullied. He may want to be able to protect himself, take care of himself. It could even be the emotional side of it; he doesn’t want to appear weak.

-How about a cross-country runner or competitive swimmer? The first thing the reader may think of is that the character has physical stamina.

Another layer of the character could be the reason why he does such strenuous activity. Does he simply love it? Or does he have ADHD or a depressive personality, and the rigorous routine helps him?

Providing character descriptions will help the reader connect to the character. Hopefully, it will help create a strong connection. It will help the reader form a vested interest in what happens to the character. It will make the reader root for the character and keep turning the pages.

So, the next time you’re creating your character, be sure to think about how you can add descriptions to create a multi-dimensional character that will bring that character to life.

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.
https://karencioffiwritingforchildren.com

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 PRESS
Self-publishing help for children’s authors.