| All rights reserved. |
| Vivian Gilbert Zabel |
Writing Tips
 | |  | |  | |  | |  | |  | |  |
As I read over the years, I studied because I wanted to be able
to write mysteries. Finally, I succeeded after many tries and
much study. I'd like to share some of what I've learned.
Between a good beginning and a powerful end, a well-written
mystery has to keep the reader's attention through the use of
foreshadowing, tension, drama, and action. The reader has to
want to turn the page or go to the next chapter to find out what
happens next. Only the writer can accomplish that with good
writing, dialogue, believable characters and action.
Here are four tips that will help a writer create a good mystery:
* Write a good story: Huh? What does that mean? That means
that no matter what tips or tricks or whatevers may be in a
mystery, if the story isn't well-written, with correct grammar,
spelling, sentence structure, the story won't fly. Kathy Pohl (The
Writer June 2007) states it's important to learn the craft, the
basics, of writing. Without knowing the basics of writing, once
can't write a good story.
All the wonderful ideas found in the mind can't become written
stories if the creator can't write the words so that they can be
enjoyed and understood by others.
* Create strong, believable characters: In a mystery, the writer
knows one thing about one character before writing: The killer,
if there is a murder, will kill someone. Other than that one fact
about the antagonist, nothing else is know about any of the
characters. The writer must develop each one thoroughly so
that he or she is real, rounded, and believable to the reader.
Writing for Children Workshop
by Vivian Gilbert Zabel
Many people believe that writing for children is easy, that anyone can do it. Having children doesn’t make a person qualified to write for
children either. For example, just because I have a heart doesn’t mean I can do open heart surgery. Writing of any kind takes training,
starting with reading the type of literature to be written, studying how to write and for a certain audience. In fact writing for children is
harder than writing for adults because the length of a children’s story is shorter: the plot, characters, conflict, and action has to be concise
and precise. Also a child’s attention span is shorter.
So how can a person learn to write for children? One way is to attend conferences and workshops about writing for children. Which brings
us to today.
Hopefully you have a few children’s books with you to examine as we discuss what is needed to write successful stories (which hopefully can
become books) for children.
Now, let’s look at some suggestions for writing successful children’s stories:
1. Learn how to write. Children’s stories should be well written, but they can’t be if the author hasn’t mastered how to write. Ways to learn
include taking courses, reading books, joining a writing group that has discussions and/or workshops to help a person improve writing skills
(there are online courses and conferences, too). Chasing a publishing contract comes at the end of a long journey.
Some people believe that writings for children can be about anything, written any kind of way, not necessarily of high quality. If anything,
works for children should be of the highest quality.
2. Write a good story with a fast-paced plot. Write from the child’s perspective. Action is an important part of any story, but action close to
the beginning of a children’s book is a must to grab attention and keep it. A plot is important for any story or book, and one should be
included in any child’s story/book. A fast-paced plot with action hold a child’s attention.
In other words, a children’s book should have well-developed characters, plot, conflict, dialogue, a climax to the conflict, and resolution – all
written for the audience’s perspective and maturity level. The younger the audience, the less likely an author should have sub-plots. The
real difference between a story written for children and one written for adults is the interest level, the focus, and the perspective.
I’ve read stories and books written about children, but for adults. A child’s story should be written from the child’s perspective. We need to
approach our writing from the reader’s frame of reference. We need to put ourselves into the mind of a child the age of our audience.
3. Use correct grammar, spelling, sentence structure. Too many “writers” believe that they do not have to be concerned about grammar
because that’s the editor’s job. Wrong. If a manuscript has grammar, spelling, or verb tense problems, whatever, most times an editor will
not read much more than a paragraph at most before discarding the writing. So what do editors consider problem areas? Let’s look at the
handout, which includes a sampling of problem areas.
Avoid using all capitals. If a character shouts, show that with words and how they are said.
Then the use of exclamation points is a troublesome area in writing anything. They should be used sparingly and then only in dialogue.
Italics should be used to show a character’s thoughts.
Spelling words correctly and using the correct word are necessary. Computer spell check will find misspelled words but not homophones:
their/they’re/there, to/too/two, our/hour, your/you’re, for example.
Since we don’t have time to do a complete English grammar lesson and if you’re not good with grammar and punctuation, use a good online
grammar site, find a book about grammar that you find understandable, ask an English teacher. One website that is a source of easy to grasp
grammar help is http://www.grammarnow.com/#resources.
4. Active voice and action verbs and show, don’t tell. Using active voice rather than passive was mentioned briefly in the handout, but action
verbs need to be used more than state-of-being verbs. The stories need to have lots of action, and using active voice and action verbs helps
develop action.
One way that action decreases is when a writer uses expository dialogue. Dialogue is need, in fact required, to write a good story of any kind,
but it needs to move the story, the plot along. Expository uses dialogue to “tell” what is happening rather than “showing” what happens.
When a character explains his actions or someone else’s actions to the reader, the author is telling, not showing. For example, if the
character walks down the street muttering to himself, “I don’t know where I am. I’ve never been in this part of the city before. I think I’ll
walk to the corner and turn left. Maybe I’ll see someone to ask for directions. It sure is cold tonight.” That’s expository dialogue.
But if the same scene is written as follows:
Josh looked at the unfamiliar buildings. “Where are all the people?” he asked himself. “Maybe I can find someone around the corner who
can help me.” He blew on his hands, trying to warm them. “Mom told me to wear my coat. I hate it when she’s right.”
Using active voice and action verbs also helps an author show rather than tell. When reading scenes in a story, the reader should be able to
see the action in his/her mind. The expository example is also an example of telling, or lecturing. The second example shows us what was
happening.
Showing is good in writing. Telling, except in few instances, is not good writing.
5. Vocabulary. According to “experts,” a few challenging words in a story is fine. Picture books are often read to a young child, and the
reader can explain what a word means. This increases the child’s vocabulary. Also when a child starts reading for himself, a few challenging
words, especially if context can help the child understand the meaning.
However, the author should not use vocabulary that is too far above the reader’s understanding.
6. Insert humor, well-defined characters, and avoid clichés. Let’s start with humor. Making a child laugh helps build a pleasant association
with reading. Therefore, where possible, a writer should use humor to help a child, especially a reluctant reader, want to read or hear more.
Humor in picture books is broad and very visual. Easy readers (and some picture books for ages 6 and up) begin to introduce verbal humor.
Chapter books start to work in jokes needing a setup and payoff played out over several scenes. Dialogue, how characters react to one
another, or the situation in which a character finds himself may be humorous.
Well-defined characters are a must for any story. Many children want to identify with the characters in books. No mater how the character
appears on the outside, the character needs to deal with situations that the reader can relate to or understand. Book characters should be
rounded, have multi-dimensional personalities, not be caricatures or one sided. They should have strengths and weaknesses as people really
do so that the reader will care about them and want to finish the whole story. To make children in a story realistic, observe children the age
of the characters: note how they talk, act, react.
Clichés weaken any type of writing. Using them is lazy writing and avoids showing the story in a way that the reader “sees” what is
happening. The brainy boy who can never attract the pretty girl but somehow saves her is a cliché. The idea that a blond is dumb or an
athlete is, both are clichés. Use originality to make a story entertaining and characters believable.
7. Story should translate into illustrations. A story for a picture book should be written with paragraphs that translates into illustrations.
This idea goes along with the show, don’t tell idea, too. Only paragraphs with action can be “translated” into illustrations.
8. Morals or lessons should not be “preachy.” A writer’s job is to entertain. If a story has a message, the author should tell it through the
plot and characters, not by attaching a moral at the end.
9. Stories should be relevant to the age group. The text should be relevant with plot, approach, and language. Books for children don’t
necessarily have a little kid in them. In fact, most children prefer characters to be a bit older than they rather than younger. The plot should
be one that the reader can understand and follow without someone having to explain.
Children shouldn’t be “talked down to.” If a writer is condescending or patronizing, children will not want to read the story.
We want children to enjoy our books, not be frightened or exposed to ideas too mature for them, not should they be expected to read things
that are stupid. Many children find bodily functions funny, but that doesn’t mean such functions make good topics for children’s literature.
10. The story shouldn’t be too long or wordy. Every word, every sentence should be needed for the story. Avoiding wordiness equals tight
writing. If a description or narrative doesn’t move the plot along or isn’t necessary to the story, it should be deleted.. Extra words that add
nothing to the story makes listening or reading boring.
Also remember, a child’s attention span depends on the child, but most the age of those listening to or reading picture books will not be
interested in a long story.
11. Alliteration, meter, and rhyme must be used well or not at all. Many publishers no longer accept children’s books written in poetry or
with alliteration. The reason is too many authors do not know how to use them well.
Alliteration tickles children’s ears, and they like the sounds. However, too much of even a good thing is too much.
Some who try to write stories in poetry form convolute wording to “force” a rhyme. The result is confusion for the one listening or reading.
12. Use talking animals carefully. Animal characters must be as well developed as a human character. They should have strengths and
weaknesses, three-dimensional with quirks, failings, motivations, and personalities.
Many times a novice writer incorporates animals as characters in a story resulting in clichés: the ugly duckling that turns into a swan; shy
creatures that suddenly become bold enough to save the day; apparently moral-filled stories that show it’s okay to be
different.
According to Write4Kids.com, using talking animals isn’t all bad. “What’s important is that your animals have completely developed,
unique personalities and characteristics.” Children will not be drawn to characters that are stereotypes, even if they are animals.
13. Use serious and/or controversial subjects appropriately. Children are bombarded with serious subjects every day, many times without
understanding them. Television and video games, as well as web sites surfed, smoother kids with tragedy, even if death and violence hasn’t
touched them personally. A story that introduces topics such as death and handles the subject in a realistic, sensitive way actually help
children cope with the realities of the world. Often the plot of a book will open the door for parents to answer questions that disturb their
children.
In one of my children’s story, the main character, Louie the Duck, doesn’t understand why Gus Goose has to live with his grandparents.
Mrs. Goose tries to explain that hunters were allowed at the lake where Gus and his parents lived. Louie doesn’t completely understand, but
he gets the message that hunters did something that left Gus alone.
14. Research material for a children’s book. Imagination gives some leeway in writing fiction; however, a writer needs to literally to have
his facts straight when writing about anything factual. False information in a children’s story is as bad, if not worse, than if in a story or
book written for adults.
15. Adults should not “carry the day.” Plots need to empower the young protagonist. Of course adults are needed, and their help may be
required. However, the solution shouldn’t be an adult making a miraculous save, but the character or characters solving problems.
16. Use a large dose of imagination.
17. Illustrations. An author, unless a professional quality illustrator or artist, should not try to illustrate his own book. In fact, most
publishers require that one of their illustrators do the work unless the author is a professional artist.
by Vivian Gilbert Zabel
Many people believe that writing for children is easy, that anyone can do it. Having children doesn’t make a person qualified to write for
children either. For example, just because I have a heart doesn’t mean I can do open heart surgery. Writing of any kind takes training,
starting with reading the type of literature to be written, studying how to write and for a certain audience. In fact writing for children is
harder than writing for adults because the length of a children’s story is shorter: the plot, characters, conflict, and action has to be concise
and precise. Also a child’s attention span is shorter.
So how can a person learn to write for children? One way is to attend conferences and workshops about writing for children. Which brings
us to today.
Hopefully you have a few children’s books with you to examine as we discuss what is needed to write successful stories (which hopefully can
become books) for children.
Now, let’s look at some suggestions for writing successful children’s stories:
1. Learn how to write. Children’s stories should be well written, but they can’t be if the author hasn’t mastered how to write. Ways to learn
include taking courses, reading books, joining a writing group that has discussions and/or workshops to help a person improve writing skills
(there are online courses and conferences, too). Chasing a publishing contract comes at the end of a long journey.
Some people believe that writings for children can be about anything, written any kind of way, not necessarily of high quality. If anything,
works for children should be of the highest quality.
2. Write a good story with a fast-paced plot. Write from the child’s perspective. Action is an important part of any story, but action close to
the beginning of a children’s book is a must to grab attention and keep it. A plot is important for any story or book, and one should be
included in any child’s story/book. A fast-paced plot with action hold a child’s attention.
In other words, a children’s book should have well-developed characters, plot, conflict, dialogue, a climax to the conflict, and resolution – all
written for the audience’s perspective and maturity level. The younger the audience, the less likely an author should have sub-plots. The
real difference between a story written for children and one written for adults is the interest level, the focus, and the perspective.
I’ve read stories and books written about children, but for adults. A child’s story should be written from the child’s perspective. We need to
approach our writing from the reader’s frame of reference. We need to put ourselves into the mind of a child the age of our audience.
3. Use correct grammar, spelling, sentence structure. Too many “writers” believe that they do not have to be concerned about grammar
because that’s the editor’s job. Wrong. If a manuscript has grammar, spelling, or verb tense problems, whatever, most times an editor will
not read much more than a paragraph at most before discarding the writing. So what do editors consider problem areas? Let’s look at the
handout, which includes a sampling of problem areas.
Avoid using all capitals. If a character shouts, show that with words and how they are said.
Then the use of exclamation points is a troublesome area in writing anything. They should be used sparingly and then only in dialogue.
Italics should be used to show a character’s thoughts.
Spelling words correctly and using the correct word are necessary. Computer spell check will find misspelled words but not homophones:
their/they’re/there, to/too/two, our/hour, your/you’re, for example.
Since we don’t have time to do a complete English grammar lesson and if you’re not good with grammar and punctuation, use a good online
grammar site, find a book about grammar that you find understandable, ask an English teacher. One website that is a source of easy to grasp
grammar help is http://www.grammarnow.com/#resources.
4. Active voice and action verbs and show, don’t tell. Using active voice rather than passive was mentioned briefly in the handout, but action
verbs need to be used more than state-of-being verbs. The stories need to have lots of action, and using active voice and action verbs helps
develop action.
One way that action decreases is when a writer uses expository dialogue. Dialogue is need, in fact required, to write a good story of any kind,
but it needs to move the story, the plot along. Expository uses dialogue to “tell” what is happening rather than “showing” what happens.
When a character explains his actions or someone else’s actions to the reader, the author is telling, not showing. For example, if the
character walks down the street muttering to himself, “I don’t know where I am. I’ve never been in this part of the city before. I think I’ll
walk to the corner and turn left. Maybe I’ll see someone to ask for directions. It sure is cold tonight.” That’s expository dialogue.
But if the same scene is written as follows:
Josh looked at the unfamiliar buildings. “Where are all the people?” he asked himself. “Maybe I can find someone around the corner who
can help me.” He blew on his hands, trying to warm them. “Mom told me to wear my coat. I hate it when she’s right.”
Using active voice and action verbs also helps an author show rather than tell. When reading scenes in a story, the reader should be able to
see the action in his/her mind. The expository example is also an example of telling, or lecturing. The second example shows us what was
happening.
Showing is good in writing. Telling, except in few instances, is not good writing.
5. Vocabulary. According to “experts,” a few challenging words in a story is fine. Picture books are often read to a young child, and the
reader can explain what a word means. This increases the child’s vocabulary. Also when a child starts reading for himself, a few challenging
words, especially if context can help the child understand the meaning.
However, the author should not use vocabulary that is too far above the reader’s understanding.
6. Insert humor, well-defined characters, and avoid clichés. Let’s start with humor. Making a child laugh helps build a pleasant association
with reading. Therefore, where possible, a writer should use humor to help a child, especially a reluctant reader, want to read or hear more.
Humor in picture books is broad and very visual. Easy readers (and some picture books for ages 6 and up) begin to introduce verbal humor.
Chapter books start to work in jokes needing a setup and payoff played out over several scenes. Dialogue, how characters react to one
another, or the situation in which a character finds himself may be humorous.
Well-defined characters are a must for any story. Many children want to identify with the characters in books. No mater how the character
appears on the outside, the character needs to deal with situations that the reader can relate to or understand. Book characters should be
rounded, have multi-dimensional personalities, not be caricatures or one sided. They should have strengths and weaknesses as people really
do so that the reader will care about them and want to finish the whole story. To make children in a story realistic, observe children the age
of the characters: note how they talk, act, react.
Clichés weaken any type of writing. Using them is lazy writing and avoids showing the story in a way that the reader “sees” what is
happening. The brainy boy who can never attract the pretty girl but somehow saves her is a cliché. The idea that a blond is dumb or an
athlete is, both are clichés. Use originality to make a story entertaining and characters believable.
7. Story should translate into illustrations. A story for a picture book should be written with paragraphs that translates into illustrations.
This idea goes along with the show, don’t tell idea, too. Only paragraphs with action can be “translated” into illustrations.
8. Morals or lessons should not be “preachy.” A writer’s job is to entertain. If a story has a message, the author should tell it through the
plot and characters, not by attaching a moral at the end.
9. Stories should be relevant to the age group. The text should be relevant with plot, approach, and language. Books for children don’t
necessarily have a little kid in them. In fact, most children prefer characters to be a bit older than they rather than younger. The plot should
be one that the reader can understand and follow without someone having to explain.
Children shouldn’t be “talked down to.” If a writer is condescending or patronizing, children will not want to read the story.
We want children to enjoy our books, not be frightened or exposed to ideas too mature for them, not should they be expected to read things
that are stupid. Many children find bodily functions funny, but that doesn’t mean such functions make good topics for children’s literature.
10. The story shouldn’t be too long or wordy. Every word, every sentence should be needed for the story. Avoiding wordiness equals tight
writing. If a description or narrative doesn’t move the plot along or isn’t necessary to the story, it should be deleted.. Extra words that add
nothing to the story makes listening or reading boring.
Also remember, a child’s attention span depends on the child, but most the age of those listening to or reading picture books will not be
interested in a long story.
11. Alliteration, meter, and rhyme must be used well or not at all. Many publishers no longer accept children’s books written in poetry or
with alliteration. The reason is too many authors do not know how to use them well.
Alliteration tickles children’s ears, and they like the sounds. However, too much of even a good thing is too much.
Some who try to write stories in poetry form convolute wording to “force” a rhyme. The result is confusion for the one listening or reading.
12. Use talking animals carefully. Animal characters must be as well developed as a human character. They should have strengths and
weaknesses, three-dimensional with quirks, failings, motivations, and personalities.
Many times a novice writer incorporates animals as characters in a story resulting in clichés: the ugly duckling that turns into a swan; shy
creatures that suddenly become bold enough to save the day; apparently moral-filled stories that show it’s okay to be
different.
According to Write4Kids.com, using talking animals isn’t all bad. “What’s important is that your animals have completely developed,
unique personalities and characteristics.” Children will not be drawn to characters that are stereotypes, even if they are animals.
13. Use serious and/or controversial subjects appropriately. Children are bombarded with serious subjects every day, many times without
understanding them. Television and video games, as well as web sites surfed, smoother kids with tragedy, even if death and violence hasn’t
touched them personally. A story that introduces topics such as death and handles the subject in a realistic, sensitive way actually help
children cope with the realities of the world. Often the plot of a book will open the door for parents to answer questions that disturb their
children.
In one of my children’s story, the main character, Louie the Duck, doesn’t understand why Gus Goose has to live with his grandparents.
Mrs. Goose tries to explain that hunters were allowed at the lake where Gus and his parents lived. Louie doesn’t completely understand, but
he gets the message that hunters did something that left Gus alone.
14. Research material for a children’s book. Imagination gives some leeway in writing fiction; however, a writer needs to literally to have
his facts straight when writing about anything factual. False information in a children’s story is as bad, if not worse, than if in a story or
book written for adults.
15. Adults should not “carry the day.” Plots need to empower the young protagonist. Of course adults are needed, and their help may be
required. However, the solution shouldn’t be an adult making a miraculous save, but the character or characters solving problems.
16. Use a large dose of imagination.
17. Illustrations. An author, unless a professional quality illustrator or artist, should not try to illustrate his own book. In fact, most
publishers require that one of their illustrators do the work unless the author is a professional artist.
If outlining works for you, great, but don't become a slave to a
technique.
* Have a strong plot: Any story must have a plot, a storyline. A
conflict is necessary, a climax, a resolution, an ending. In a
mystery, there must be a crime or some other type mystery to be
solved. A good book has a major plot and at least a couple of
sub-plots. For example, a couple who meet as a result of the
mystery and who are attracted to each other create a sub-plot
inside the main plot of solving the mystery.
Those points are only four tips, but rather important ones, that
can lead to an exciting, page-turning mystery.
*****
After teaching composition for twenty-five years and becoming an
author on http://www.Writing.Com/ a site for Poetry, Vivian Gilbert
Zabel produced Hidden Lies and Other Stores, Walking the Earth:,
The Base Stealers Club, and Case of the Missing Coach, which can
be ordered through most book stores and on Amazon.com.
Article Source: http://EzineArticles.com/?expert=Vivian_Gilbert_Zabel
| by Vivian Gilbert Zabel |