Most of my published fiction has been for adults, but writing for children is wonderful. And if you get something published in the area of Kidlit, as they call it, there’s an added bonus I’ll share later in this issue.
Fellow wordsmiths have asked if penning children’s fiction holds me back, because of the supposed restrictions it places on style and content. I always acknowledge that there are indeed restrictions, or rules, based on each age group (we’ll define these for the four major age categories in the next few pages). But I have learned that it does not restrict me. Kids are often far more intuitive than you may think.
Last issue we touched on the problem of over-explaining—or as I call it, author-splaining—and we’ll deal with author intrusion at a later time. But I was certainly guilty of author-splaining in my early attempts at writing for kids, based on my own incorrect perception that they wouldn’t get what I was telling them. My editor at Lowell House set me straight when she told me to raise the bar and assume more of my audience. The lesson I learned?
Never write down to kids.
Once I took that in, it became fun, and it can be fun for you, too. The only requirements are that you go back a few years and tap into your inner child or younger person, because the main characters in any work of Kidlit will be the same age or maybe slightly older. Also, you’ll want to find and explore themes about which your readers will care.
Here are the age categories, in rhyme:
So those are the categories. Now, let’s get into that bonus at which I’ve been hinting. Think elocutionist. Think public speaker. Think:
For many years following the publication of my Scary Stories books, I toured schools with a multimedia presentation designed to introduce kids to creative writing. Many districts host annual Author Festivals and/or pay for writers to come and talk about their craft (I’ve listed some of these festivals on my site under Longtime Lecturer). It’s a win-win, because not only are you paid for your time, but you can sell books at the signings after. They’re fun, and give you a chance to actually interact with your reading audience. And if you devise a meaningful presentation—the kind popular with kids and teachers alike—you’ll receive lots of feedback like this:
(I keep a file of post-presentation letters like these. They are a terrific counter-balance to some of the usual negative aspects of the writing life, i.e. rejection slips, harsh critiques, self-doubt, etc. We’ll talk about dealing with that not-so-happy writerly stuff later. Just know that keeping positive correspondence like this is a great antidote.)
Writing only for adults is fine, and if that’s your strength and primary interest, stick with it and refine it, by all means. But do keep in mind that Kidlit can be very rewarding. If you’ve got some flexibility in your creativity, why not give it a try?
Let’s end with a new word.
For this one, go back in your mind, if you will, to the bonus I associated with writing for kids.
What is an elocutionist?
Have you used any of the words in this newsletter in your own writing or perhaps in conversation? If not, work them in. It might take a concerted effort to absorb new words into your vocabulary.
Action Plan
My Scary Stories for Sleepovers books for middle readers are out of print, but you can find the odd used copy out there. Or, I have books in new condition which I can sign personally and mail to you, here.
Next up:
#11) Pick Your Plot. See you in two weeks!
Craig