How to Write a Children's StoryWriting a children's story
As one writes ledgers for children: To write for kids is to think about one's past, says author Michael Rosen | Bücher (Books)
We were all kids, we all know a parental or a parental character. That makes us all possible children's authors. I' m not so much referring to children's literature as the stuffing between the childrens and grown-up worlds. In one way or another, all children's literature must deal with this room, whether it is about how the text of a storybook sounds when it is reread out loud, or how the kid sees himself in a grown-up-led state.
And, before it can reach a child's hands, eyes or ears, there are many grown-ups it has to do with: writers, graphic designers, journalists, marketers who buy them. And, of course, more than likely, you are an adult who reads this, so the point you think about typing something for kids is going to manage something or other from your own infancy.
There' s also an interesting border between the kid you used to be and the kids you know now. When you want to write a textbook for kids, you will move back and forth along this line and ask yourself what kind of kid you were, why you had those special preferences and interests, what was depressing or agitated you, what you were scared of, what you longed for; the next time you look, listen and think about the kids you know or see.
Is there a big difference, or is there a kernel childhood that is unaltered? Are the cultures and backgrounds you come from similar or different to the kind of kids you now know and have? How can you contact them? So, you know you want to write something.
In the remainder of this brochure you will see that children's books have very special shapes or styles. Sometimes it may seem to you that writers can only think in certain speakers, while a textbook you liked, e.g. The Little Prince, resisted such speakers. "There is no point in creating a text in a story that is longer than a few hundred words", "This story is too'old' for a storybook audience", "Your story is too short" and so on.
Confusing, if you go to the libary and get a stack of textbooks, you may find some that seem to overcome such limitations. This is almost always because it is a renowned writer who has been given the freedom to write what he wants - Roald Dahl's The Minpins is one example.
Or, you have a work in your hands that has been made by an independant business like Tamarind, Frances Lincoln or Barefoot Books. This means that all of us who write for kids have to do our schoolwork. Nowadays we have to be conscious of what is going to be released and how today's public is telling-histories.
Morris Gleitzman, the author, tells me that when he is a child scribe, he is setting himself a gold rule: When you' re serious about typing, you need some kind of scripture (or several) like this so that you have complete command over what you write on the page. It is also necessary to pass through bookstores, kindergartens, libraries, school and with readers to see how the book works with the public.
You' re of course the first public for what you write, but you want to make yourself a readership who pretends to be the rabble. You need to construct in a way your audiences feel as part of the way in which you are hard on yourself about what you write.
A part of this read kid will invariably be the read kid you once were. They also need to get the kid who is now the demographic of your demographic into your mind. This is a very nice, clean place. It is full of frantic interest in inspiring kids with inspiration, imagination and modern themes.
All over the globe there are very dedicated, poorly compensated individuals who go the extreme distance when it comes to reach a kid who would otherwise not come across a work. A number of organizations are trying to promote the passion for books, and the minute you write and publish something, no matter how humble it is, there are all kinds of places interested in asking you to invite some of your kids to read it.
An important part of the letter for kids is the appearance at school, library and festival events. One important part of becoming a child novelist is to see what publicized authors do and say when they appear. Childrens literary work may be as solitary as any other form of literary work, but there is a great deal of society involved in getting the literature to the people.
So part of being a child author is among those who are organizing them. Finding the right equilibrium will be part of what will motivate you to go back to the cells and write more!