Writing a Children's Book SeriesChildrens book series
There are six easy ways to make your children's story sparkle
You never thought it possible, but you've completed your children's text. You' ve worked tirelessly to build multi-layered, credible character, and the storyline has an intrinsic beginning, a center, and an end. The processing of these words makes the script a possible work. However, you cannot work on a history in which you have cast your mind without first taking something away from your egos.
Then as you go through the whole thing, pretending that someone else has written it. This first, refreshing piece explores the whole of history. Has the protagonist characteristics with which your group of customers can relate? Will the storyline begin early in the storyline with an event that poses a challenge to your characters?
Will this nature solve this issue in a tragic, satisfactory way towards the end of the work? Have you put enough barriers in your character's way to create excitement and force the readers to interfere emotions? When you answer "No" to one of these quizzes, you still don't have a sound design for your history.
Return and fine-tune your action and your hero. Childrens authors must comply with stringent industrial norms for counting words. Textbooks for kids up to eight years are on general terms 1000 words (although many are shorter); simple textbooks aged 5 to 9 years are 50-2500 words (depending on publishers and reading level); chapterbooks (short stories aged 7 to 10 years) are usually 10,000-12,000 words; medium-sized fiction (aged 8 to 12 years) is about 20,000-25,000 words, and young adults' stories (12 years and older) are 35,000-45,000 words.
Especially when it comes to the younger ones, every single words must matter. Screenwriters are often tempted to include sequences and side actors that make the storyline needlessly complicated. The first good thing to do when working on a work is to go page by page and carefully edit every single words, sentence, sequence or personality that does not directly influence the storyline.
Not only will the next five stages help you shine what's still remaining, they will also allow you to "show" the tale to your readership instead of "tell" it. The first few phrases will stay with your reader, but if they are not addicted, they will shut the work. Begin your storyline with actions, dialog, or adjust the atmosphere so that children can't leave.
You' d like to start as near as possible to the catalyser of the storyline, the point at which your character's world changes from usual to exceptional and the action begins. Imogene Antler`s first page, a storybook by David Small, reads: Oh no, it's Robert, immersing herself directly in the kind of conflicts the protagonist is confronted with:
In an undeniable way, the first section of Richard Peck's novel A Long Way from Chicago (9-12 years) stages place and time: "Even powerful, precise substantives draw a certain image in the reader's head. Descriptive texts should show how your character acts in the context of the storyline or how he thinks about the other people.
When the storyline ceases to freeze so you can make fun of a sundown, the story is more about you than about your protagonist. Patricia MacLachlan's novel for 8-10 years old, Sarah, Plain and Tall, reflects on her plains house in the latter part of the nineteenth century: Because illustration is included on every page, the text in the text contains very little descriptive information.
Don't squander valuable words to explain that a person has "red frizzy hair," unless the essence of his own coat is a critical one. However, accurate, sensual detail can reinforce the novel's optical characteristics and add a layer to the main characters. Grandfather was an old, creased, quirky man is a descriptive text that could come from any person who spent a few moments with Grandpa.
Dialog does three things: it provides the readers with information about the story, it gives insights into the narrator and it shows the relation between all actors in the game. Hank, the safety hound of the farm, finds a corpse in Let Sleeping Dgs Lied from the show "Hank the Cowdog" by John R. Erickson (8-12 years).
The dialog begins and clearly shows that Hank has a different approach to his work than his side kick drover: Textbooks are created in a row of sequences, each of which can be commented. This is a 32-page image file on avarage, but the front (title page, copyrights page, etc.) consumes about four pages.
Select your script where the page break could go, or place the text on 28 pages, stitch them together like a tree and browse through the history as you turn the pages. Anything that happens on every other page (an enticing turn, an increase in action) that makes the kid turn the page and see what happens next?
Is there a satisfactory rythm in the whole plot that makes it easier to listen? Simple and highly illustrative characters are arranged so that they can be easily understood by the children, and so the tales are communicated through actions and the dialog. The chapterbooks have somewhat longer sections and shorter sections (about four pages each), but are still cumbersome.
Mid-range and young adults novels may contain subplots and more descriptions, but in any textbook that has section, it is prudent to end the section on an emotive touch. Finish the section here, and your reader will have a tough job laying down your books and turning on the TV.
She is the Best Book for Kids Who (Think They) Writer, von Prima Publishing. She is also the editor of Children's Book Inside, the newsletter for children's book authors. More information on how to write children's literature, such as free article, free marketing advice, inside information and much more, can be found on the Internet at http://write4kids.com.