Is Your Self-Published Children’s Book Professionally Done?

 

Contributed by Karen Cioffi, Children's Writer

There are a lot of self-published (SP) children’s books that are as good as, or even better than, traditionally published books.

The authors who produce these books take care and do it right. They do everything they should to ensure their book meets the mark.

But…

There are an awful lot of SP books out there that are way off the mark.

So, what about your book? Is it professionally done? Is it a book that you’re proud to be the author of?

If not, how can you improve your books?

The top five ways to make sure your children’s book is publishable and marketable; in other words, professionally done.

1. Research.

If you’re new or newish to the children’s writing arena, study other children’s books in the genre you want to write.

Go deep into these books. Pay attention to everything from story structure and character development to pacing, grammar, punctuation, character and story arcs, sentence structure, and all other elements.

I just read a manuscript from an author who had it edited before sending it to me. Even the quotation marks for dialogue were wrong - this is basic stuff. 

If the author had taken the time to research and study books, she would have known this.

2. Don’t think you’re good to go right out of the box.

No children’s story is good-to-go right out of the box. It takes revisions to make it shine. 

Pay attention to structure, organization, consistency, focus, clarity, and flow.  

Give it a couple of drafts before deciding you can move on to the next phase. 

3. Have your children’s manuscript professionally edited.

If you want a book that looks and reads professional, you need to get it professionally edited.

Keep in mind the author I mentioned in Number 1 above. 

I’d never seen such a poorly written manuscript, and she had it edited.

Before looking for an editor, learn the basics and get your manuscript into the best shape you can. Taking this step will possibly help reduce the editor’s fee. The more an editor has to do, the more you’ll be charged.

Once you’re at the best you can do stage, research editors. Look for testimonials and samples of the editor’s work.

You can also ask around for recommendations. A good way to do this is to join the Society of Children’s Writers and Illustrators (SCBWI). There are a lot of experienced writers who are happy to help.

Warning: Once you have your story edited by a professional children’s editor, don’t let a self-publishing service re-edit it.

4. You’ll need some additional pages.

Front matter:
-Title page
-Copyright page
-Dedication page (optional)

Back matter (optional):
-Author page
-Glossary (if needed)
-Reading comprehension page (optional)
-More information page/s (optional)

5. Hire a good illustrator.

Picture books rely heavily on the illustrations. They help tell the story.

Chapter books also need illustrations, as readers still need them to help grasp the story. This is why you need a good illustrator, one who knows what he’s doing.

Check out their portfolio. You might ask for a sample, though not all illustrators will provide one.

And it's not a good idea to hire an illustrator based on sketches. I worked with one who had great sketches, but the colored illustrations were boring. 

You also want an illustrator who is creative enough to see what you can’t and one who can create a grabbing cover. 

The cover is the number one contributing factor that motivates a reader to buy your book. It's a good idea to take advantage of it by having it done right. There are better places to try to save money.

This is not the place to try to save money.

At a loss to find an illustrator? You can use SCBWI to find one. I provide my clients with one or two illustrators that I’ve worked with or that my clients have worked with.

Illustration tips:

-Be sure you will own the illustrations once you pay for them.
-Be sure the illustrator will do revisions.
-Check each illustration for page accuracy and consistency throughout.
-Hire an illustrator who does the text inlay.
-Check the text inlay for accuracy. I’ve seen some terrible mistakes in this area.
-It’s important to get the individual illustrations even if the illustrator provides a PDF of the entire book.
-Review the finished work carefully before handing it off to a formatter/designer or a self-publishing service.

Hope this helps you create a professional children’s book that you’ll be proud to be the author of.

This article was originally published at: Is Your Self-Published Book Professionally Done?

ABOUT THE AUTHOR

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

You can check out Karen’s books HERE.

Connect with Karen on SOCIAL MEDIA. 

Need help self-publishing your children's picture or chapter book? Check out Writers on the Move Self-Publishing Service. 

 

The Takeaway

 Contributed by Karen Cioffi, Children's Writer

Most of my clients know what they want the takeaway of their book to be. 

It may be to demonstrate kindness, overcome fear, be a good friend, learn responsibility, learn about conservation, become self-confident, learn coping strategies, realize the importance of family…

Now and then, though, I still get clients who think a list of events constitutes a good story. They have a tough time understanding the elements that need to go into making a story work, such as character arc, story arc, plot, and a story’s takeaway. 

WHAT IS A BOOK’S TAKEAWAY?

The takeaway in children’s writing refers to the central message, moral, or theme that readers are meant to understand or remember after finishing the story. It's what leaves an impact, inspires thought, or teaches a lesson. In children’s literature, the takeaway is typically simple, clear, and age-appropriate, often woven seamlessly into the story, and should be conveyed subtly.

The takeaway is what the reader will find memorable, leaving a lasting impression that will hopefully prompt the reader to consider new perspectives or apply the information learned to their own lives. 

EXAMPLES OF TAKEAWAYS IN CHILDREN’S WRITING

Picture book: “Stephanie’s Ponytail” by Robert Munsch. 

Stephanie's upset because the kids in her class copy every hairdo she creates. Finally, she outwits them, and they never copy her hairdo again. 

As well as being a fun read, the takeaway teaches children about creativity, independence, self-confidence, imagination, and being daring. 

Chapter book: “Walking Through Walls” by Karen Cioffi

The protagonist, Wang, begins his journey as a selfish, lazy kid. But striving to become rich and powerful, his heart is awakened to what riches and power really mean.

The takeaway is two-fold: not all things are as they appear, and richness and power can be more than gaining external things. It touches on friendship, loyalty, honesty, and hard work.

TIPS ON CRAFTING TAKEAWAYS IN CHILDREN’S WRITING

It's All About Subtlety:
Avoid overt preaching; let the actions and consequences of the characters deliver the message.

Example: Instead of saying, “Sharing is good,” show a character sharing their toys and making a new friend.

Make It Relatable:
Focus on themes children experience, like friendship, bravery, or honesty.

Example: A boy overcomes his fear of public speaking to join the school play, teaching bravery and confidence.

Keep It Age-Appropriate:
Simplify complex themes for younger readers. For older kids, explore deeper ideas like compassion or resilience.

End on a Positive Note:
Even if the story includes struggles or setbacks, it should leave readers with hope or encouragement.

TAKEAWAY IN PRACTICE

Imagine you’re writing a story about a lonely dragon who learns to write poems that bring joy to the townspeople. 

The takeaway could be: “Using your unique talents can connect you to others.” Instead of saying this outright, you’d show how the dragon’s poetry gradually breaks down fears and builds friendships.

The key is to balance storytelling with meaning, allowing the message to shine through the actions and emotions of the characters.

So, as you’re writing your children’s story, think of the takeaway. What message do you want to instill in the reader? 

 ABOUT THE AUTHOR

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

You can check out Karen’s books HERE.

And connect with Karen on social media.

 

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

 

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

Writing: Setting the Mood

 

Contributed by Margot Conor 

Crafting Emotion and Atmosphere in Writing.

Why Mood Matters

Every story carries a current beneath its plot, a subtle emotional tone that guides how the reader experiences events. This is mood: the atmosphere that lingers around a scene, created not by what happens, but by how it is told. A love story may take place in a garden, but whether that garden feels tranquil, eerie, or oppressive depends entirely on mood.

Writers who understand mood can shift a reader’s emotions without ever naming them directly. They conjure sorrow without saying “sad,” and build dread without mentioning fear. Mood is the difference between description that merely informs and description that transports.

The Building Blocks of Mood

1. Descriptive Language and Word Choice
Every word carries emotional weight. Consider the difference between describing a room as dim versus shadow-choked. Both mean there is little light, but the second leans toward menace. Similarly, a breeze suggests gentleness, while a gust can feel intrusive or restless. Precision in word choice is one of the most powerful tools for setting mood.

2. Imagery and Sensory Detail
Mood flourishes when writing appeals to the senses. Sight may be the most obvious, but sounds, textures, and even smells can deepen atmosphere. A creaking floorboard, the sticky grip of humid air, the metallic tang of blood in the mouth… these details can evoke an entire emotional world.

3. Rhythm and Sentence Structure
The cadence of prose influences how readers feel. Long, flowing sentences can lull or soothe, while short, clipped phrases quicken the pace and heighten tension. Consider how a passage in Virginia Woolf can feel meditative, while Hemingway’s terse sentences convey urgency. Rhythm is the invisible pulse of mood.

Techniques for Enhancing Atmosphere

1. Show Through the Environment
Setting often reflects or amplifies the emotional tone. Gothic writers knew this well: crumbling castles, storm clouds, and hollow winds echo inner turmoil. But even in modern realism, surroundings shape mood. Like a sunlit café warms a scene of reunion, while a sterile hospital corridor chills it.

2. Weather as Emotional Mirror
Though sometimes cliché, weather can be used with subtlety to underline atmosphere. A sudden downpour can feel cleansing or ominous, depending on context. Fog blurs not only the landscape but also certainty, mystery, or fear.

3. Symbolism and Motif
Recurring images create consistency of mood. Repetition of water imagery might bring calm or unease depending on how it is framed. Colors are another powerful tool, red can suggest passion or danger, blue serenity or sorrow. Symbolic language layers meaning onto mood.

4. Contrast and Juxtaposition
Mood sharpens when placed against its opposite. A joyous wedding scene may feel even brighter when set after a moment of grief. Laughter can echo uncomfortably in a tense setting, turning joy into something uncanny.

Some examples from literature you might have read:

Edgar Allan Poe mastered gothic atmosphere, weaving dread into every creaking door and flickering shadow. His word choices drip with menace, leaving no doubt of the intended mood.

Toni Morrison layered lyrical, sensory-rich language to create moods of both beauty and brutality, allowing readers to inhabit the emotional truths of her characters.

Kazuo Ishiguro sustains quiet melancholy in novels like “The Remains of the Day,” where understatement and restraint foster a mood of longing and regret.

Ray Bradbury in “Something Wicked This Way Comes” builds mood with sensory lushness. The smell of autumn leaves, the distant calliope… where nostalgia and dread intermingle.

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. Margot's debut multiverse adventure novel, Inverse, is available on Amazon. 

She's spent the last year 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/

A WRITER’S LIFE HAS SEASONS, TOO

 Contributed by Gail L. Fontana

I have been writing for most of my life but didn’t get serious until my own “personal 9/11” at the end of 2019, when my older sister passed away.

Tough as that was, it jolted me to action. I heard the clock ticking, loud and clear, and said, “If not now, when?” 

Since then, I’ve “finished” three middle-grade novel manuscripts (more on the air quotes in a moment), three chapter-book manuscripts, a half a dozen or more picture books, and many short stories. I say “finished” because are we ever? There’s always something that could stand a little more elbow grease, right? I have, however, queried most of these projects and heard only crickets. I’ve also had many of them developmentally edited by professional editors who gave me glowing reviews. Whom do I believe? I guess I should believe the agents because they’re the ones who aren’t responding with cartwheels and contracts.

Anyway, that’s a subject for another day—or for a therapist.

I divulge these secrets because I want you to know I didn’t just fall off the proverbial turnip truck. 
I write. A lot. I finish projects. I keep going. 

Sometimes…I’m tired.

Which brings me to the idea of seasons. 

Just like there are four seasons in a year, there are seasons in a writer’s year. Maybe four, maybe more, maybe less.

For me, one of those seasons is represented by hurried activity. A get-it-done mentality. Don’t mess around on social media. Write, write, write. No distractions. Take no prisoners.

Another season is spent editing, tweaking, touching up existing manuscripts. This is a slower process—for me. 

Another season is spent planning my non-writing life.  Trips, visits to and from family, hosting neighbors, always at the grocery store, always in the kitchen. It seems to last forever but is often a short season that returns every few months.

Sometimes, I just want to sit and watch Gilmore Girls reruns.

Take a look at your life. Are there times when you’re not writing and feeling guilty about it? Give yourself permission to relax and enjoy that time. We can’t be our best at anything if we don’t take a break. Not a good parent, not a good partner, student, employee or writer. 

You don’t need to force these breaks upon yourself. You’ll feel one coming on. Lean into it. For a week or two. 

This is not a get-out-of-jail-free card, though. Make a promise to yourself not to let this season become all-consuming. And we have to keep our promises to ourselves, right? Otherwise, we let the Dark in, and it’s just not pretty.

We have to let our fields lay fallow. But we don’t neglect them forever after.

When you feel refreshed, it’s time to get off the couch and lean into another season, a more productive one. 

As English street artist and activist Banksy said, “If you get tired, learn to rest, not quit.” 

ABOUT THE AUTHOR  

Gail L. Fontana is a children’s writer, living in Rio del Mar, California. She blogs at www.gaillfontana.com

Thinking of Writing an Early Reader?

 

 

 

Contributed by Karen Cioffi, Children's Writer

 

 Early readers are short books designed for children just beginning to read independently. 

These books should have 32 pages and usually 300-500 words. They can go up to 1200 words and 48 pages, depending on the child’s reading level. And as they build a bridge between picture books and chapter books, early readers should be divided into chapters. The book size should also be more in line with chapter books, usually 6X9.

Early readers play a vital role in bridging the gap between picture books and chapter books, typically catering to readers aged 4–8. 

While creating early readers can be rewarding, it presents unique challenges for authors. This article delves into the pros and cons of writing early readers, highlighting examples to illustrate their impact on young audiences.

BENEFITS OF WRITING EARLY READERS

-Fostering a Love for Reading
Early readers are an important tool in fostering a love for reading in young children. By crafting engaging, age-appropriate stories with simple vocabulary and repetitive sentence structures, authors provide children with a sense of accomplishment. Completing a book builds confidence and  encourages an exploration of literature.

Example: Dr. Seuss’s "Green Eggs and Ham" is a mere 50 words yet captivates readers with its rhythmic text and humorous plot. Its simplicity makes it approachable for beginners, while its whimsy ensures lasting appeal.

-Contributing to Literacy Development
Early readers help children develop fundamental literacy skills, including decoding, fluency, and comprehension. By balancing familiar words with new vocabulary, authors can gently challenge young readers without overwhelming them.

Example: The Elephant and Piggie series by Mo Willems features short sentences and relatable scenarios, making it an excellent tool for practicing expressive reading and understanding story structure.

-Lifelong Learning
Books for early readers often introduce themes of problem-solving, friendship, and resilience, laying a foundation for character development. Authors have the opportunity to influence young minds.

Example: In Arnold Lobel’s Frog and Toad series, the protagonists navigate everyday challenges, teaching lessons about patience, kindness, and teamwork.

-Creative Challenges for Writers Lead to Creativity
The constraints of early reader writing—limited vocabulary, short sentence structures, and concise storytelling—force authors to think creatively. These restrictions often result in clever, tightly woven stories that are fun to read and write.

Example: Laura Numeroff’s "If You Give a Mouse a Cookie" uses a cause-and-effect structure to create an engaging and memorable story, demonstrating the power of simplicity.

DISADVANTAGES OF WRITING EARLY READERS

-Strict Structural Constraints
The rigid rules of early readers can be daunting for authors. Limited word counts, simplified language, monosyllable words, short sentences (averaging 5-10 words), use of sight-words, and an emphasis on phonics and repetition leave little room for elaborate storytelling or linguistic flair.

For instance, an author who thrives on complex narratives or poetic prose might struggle to adapt their style to the requirements of this format. Striking a balance between simplicity and storytelling depth can be a significant challenge.

For a list of Dolch sight-words, visit: https://dolchword.net/by-grade-alphabetical/

You might also get a copy of "The Children’s Writer’s Word Book" by Alijandra Mogilner. It gives the grade level for a large number of words. I use this book often.

-Limited Target Audience
Early readers have a short shelf life for individual readers, as children quickly outgrow them. This makes it harder for authors to build lasting relationship compared to writing for broader age groups.

Example: While books like Mo Willems’ Elephant and Piggie are beloved by young readers, their audience typically moves on to chapter books within a year or two.

-Risk of Oversimplification
In striving for simplicity, authors may inadvertently create books that feel monotonous or uninspiring. Stories that are too repetitive or lack emotional depth may fail to engage readers fully, undermining their potential impact.

For example, while phonics-driven books can improve decoding skills, some titles sacrifice storytelling in favor of adhering to word patterns, leading to less engaging stories.

-Market Saturation and Competition
The market for early readers is highly competitive, with many established authors and publishers vying for attention. Breaking into this space can be challenging for new writers, particularly when competing against known brands and franchises.

Example: Renowned series like The Berenstain Bears and Clifford the Big Red Dog dominate bookshelves, making it difficult for new titles to stand out.

-Illustration Dependency
Early readers rely heavily on illustrations to support the text and provide visual context. While this enhances the reading experience, it also means authors must collaborate with illustrators or publishers to effectively convey their message.

-Striking a Balance
Despite the challenges, writing early readers is a fulfilling endeavor for authors committed to nurturing young readers. By focusing on storytelling elements that resonate universally—humor, relatable characters, and engaging plots—authors can create memorable books that meet the developmental needs of their audience.

CONCLUSION

Writing early readers shapes the foundational experiences of young readers, influencing their relationship with literature and learning. 

While there are challenges writing in this genre, the benefits far outweigh them.

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 
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Writing: Mixing It Up with Tropes

 

Contributed by Margot Conor

I have lately been experimenting. I mostly write Science Fiction and Fantasy. But I do tend to mix tropes most of the time. Recently I have been trying a few new subgenres.

An author in a critique group told me she liked my Magical Realism style. And I had to admit I didn’t know what that was. When I searched for authors that are known for it and discovered they are some of my favorites. Jorge Luis Borges, Gabriel Garcia Marquez, Isabel Allende. I suppose we are inspired by the authors we love.

After reading about what characterizes Magical Realism, I wrote a few short stories with that trope in mind. Consciously leaning into that style, I was pleased with the results.

Magical Realism combines realistic settings with fantastical or magical elements, treating the supernatural as commonplace within the narrative. Key characteristics include a realistic setting, the matter-of-fact inclusion of magical elements, a blurring of the lines between reality and fantasy, and often, a focus on everyday characters in dream-like, or unbelievable situations which are treated as normal.

While researching tropes I saw a few others I decided to experiment with.

One is something called slipstream. Which I also had never heard of. This has the distinctive quality of defying traditional genre boundaries, by mixing sci-Fi, and Fantasy with psychological or philosophical fiction. It explores deeper themes of societal or technological change, and the breakdown of paradigms. It employs strange and uncanny situations. Encourages the bending of reality with surreal settings or circumstances. It is otherwise described as “the familiar strange, or the strange familiar.

I had never written in the Steam Punk subgenre until recently either, I wrote a short story titled Magic Wants to Be Used. I love the characters and the world I created enough to possibly serialize it. This story’s main character is a teenager named Xandra who has a forbidden form of mechanical magic.

I also recently compiled a small set of nine fantasy stories featuring dragons. I’ve been writing fantasy for a while but oddly never touched the dragon lore sub-genre. I am not sure it is still as popular as it once was, but it was fun to write.

There are a few writers in one of my writers’ groups who write romantic fantasy. I know that any sort of romance genre is extremely popular now, and an easy genre to build a loyal following with. But other than inserting a few flirtations into the speculative genres I write, romance seems to be near impossible for me to write.

I seem to have found my favorites, and I’ll stick with them. I encourage writers to explore as I have been doing, just to see what might inspire you. Every now and then it is good to step outside what we usually do and explore a slightly different direction.

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. Margot's debut multiverse adventure novel, Inverse, is available on Amazon.

She's spent the last year 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/

 

 

Are You a Writing Imposter?

I watched an amazing webinar with Writers on the Move contributor Carolyn Howard-Johnson and her publisher Victor Volkman.

Carolyn is an award-winning author and an expert book marketer, so I listen when she has something to share.

A small part of her talk was about the imposter syndrome. Making it easier to understand, it's more like the 'I'm not good enough' syndrome.

This is something most writers deal with once in a while, me included, so I decided to look into it.

According to Wikipedia, the "imposter syndrome is a psychological pattern in which an individual doubts their skills, talents or accomplishments and has a persistent internalized fear of being exposed as a fraud."

So, what does this have to do with writers?

Well, once we feel we're not ‘really’ a good writer, we begin to underestimate our ability and our value.

Unfortunately, this syndrome seeps its way into new and even seasoned writers, and it can cause consequences.

The I'm not a good enough writer syndrome, or I'm a fraud, and sooner or later, everyone will know.

Have you ever felt like this?

Once a writer has these feelings, they can fester and grow, stopping her from moving forward. 

Maybe she's been thinking of seeking an agent's representation.

He may have thought of submitting to traditional publishers.

Maybe he's wanted to get articles published in magazines like Writer's Digest, The Writer, or another magazine. 

BUT …

She doesn't think she's good enough, so she doesn't even try.

There's an expression I love: Nothing ventured, nothing gained.

You don't have to be the best writer on Earth.

It's not the best writer who succeeds; it's the writer who perseveres. And part of perseverance is to submit your work. 

It's about writing the book you want to write and self-publishing if that's the route you want to go.

It's about submitting your manuscript to agents and publishers.

That said, it is important to make sure you, at the very least, know how to write. 

- Read a lot.

- Read books the agent has represented if that's what you want to do.

- Read books that the publisher has published if that’s your dream.

- Read 'quality' books in the genre you want to write.

- Take the time to learn how to write if you haven't yet. There are excellent online classes that can help you with this.

Another problem is if a writer with this syndrome offers services like editing or ghostwriting. 

If you're offering writing services and don't believe you're qualified enough to provide these services, you're in trouble. 

- The first thing that will happen is you won't charge what you're worth. This thought process can cause a domino effect. 

- Your lower prices will cause some potential clients to believe you're not as good as other services charging more.

- You may let clients tell you how to write. Or, you may not be confident to explain to your client that what he has done or wants to do won't work.

- You'll second-guess almost everything you do.

If you have these feelings, it might be helpful to create a vision board.

Put a few quotes or sayings that will help you believe in yourself. Be sure to keep it where you'll see it every day!

And another good idea is to keep learning your craft.

Learning to write also goes for wannabe authors. Learn about writing by reading books in the genre you want to write in, and then go for it.

Click the link to watch Carolyn's talk - it has lots of book marketing tips: 
https://youtu.be/ykE7ITz6HUk

 

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.

https://karencioffiwritingforchildren.com/karens-books/