Since many aspiring children's book writers are also teachers, it might be a good idea to offer some advice in a familiar format -- a writing lesson plan. We'll develop this plan step-by-step.
LESSON ONE:
Let's start our adventure with a look at the categories of children's books:
* Picture books -- In its broadest definition, a picture book is a book in which the illustrations play a significant role in telling the story. Under this umbrella are several types of books:
1. Baby Books -- For infants and young toddlers, these books are generally lullabies, nursery rhymes, fingerplays, or wordless books. The length and format varies with the content.
2. Toddler books -- Very simple stories for ages 1-3 (under 300 words) familiar to a child's everyday life, or concept books (teaching colors, numbers, shapes, etc.) Books are short (12 pages is average) and the format can be board books (sturdy paper-over board construction), pop-ups, lift-the flaps or novelty books (books that make sounds, have different textures, etc.) See the "Max" series of board books by Rosemary Wells (Dial).
3. Picture books -- Traditionally, picture books (also called "picture story books") are 32-page books for ages 4-8 (this age may vary slightly by publisher). Manuscripts are up to 1500 words, with 1000 words being the average length. Plots are simple (no sub-plots or complicated twists) with one main character who embodies the child's emotions, concerns and viewpoint. The illustrations (on every page or every other page) play as great a role as the text in telling the story. Occasionally a picture book will exceed 1500 words; this is usually geared toward the upper end of the age spectrum. Picture books cover a wide range of topics and styles. The list of Caldecott Medal winners, available from your library, is a good place to start your research. Nonfiction in the picture book format can go up to age 10, 48 pages in length, or up to about 2000 words of text.
4. Early picture books -- A term for picture books geared toward the lower end of the 4-8 age range. These stories are simple and contain under 1000 words. Many early picture books have been reprinted in the board book format, thus widening the audience. The Very Hungry Caterpillar by Eric Carle (Philomel) is an example.
As we continue our writing lesson plan, we step up to a slighty older age group:
* Easy readers -- Also called "easy-to-read", these books are for children just starting to read on their own (age 6-8). They have color illustrations on every page like a picture book, but the format is more "grown-up" -- smaller trim size, sometimes broken into short chapters. The length varies greatly by publisher; the books can be 32-64 pages long, with 200-1500 words of text, occasionally going up to 2000 words. The stories are told mainly through action and dialogue, in grammatically simple sentences (one idea per sentence). Books average 2-5 sentences per page. See the "Amelia Bedelia" books by Peggy Parish or other "I Can Read" books published by Harper Trophy.
* Transition books -- Sometimes called "early chapter books" for ages 6-9, they bridge the gap between easy readers and chapter books. Written like easy readers in style, transition books are longer (manuscripts are about 30 pages long, broken into 2-3 page chapters), books have a smaller trim size with black-and-white illustrations every few pages. See "The Kids of the Polk Street School" series by Patricia Reilly Giff (Dell) or the "Stepping Stone Books" published by Random House.
* Chapter books -- For ages 7-10, these books are 45-60 manuscript pages long, broken into 3-4 page chapters. Stories are meatier than transition books, though still contain a lot of action. The sentences can be a bit more complex, but paragraphs are still short (2-4 sentences is average). Chapters often end in the middle of a scene to keep the reader turning the pages. Look at the "Herbie Jones" books by Suzy Kline (Puffin) and the "R
Viewing: Blog Posts Tagged with: laura backes, Most Recent at Top [Help]
Results 1 - 4 of 4
By: Mayra Calvani,
on 5/10/2011
Blog: Mayra's Secret Bookcase (Login to Add to MyJacketFlap)
JacketFlap tags: writing lesson plans, how to write lesson plans, laura backes, Add a tag
By: Mayra Calvani,
on 10/15/2009
Blog: Mayra's Secret Bookcase (Login to Add to MyJacketFlap)
JacketFlap tags: writing children's books, laura backes, bilingual children's books, articles on writing, Add a tag
Eighteen months ago, I took up karate. It's a great workout, but the biggest reason I train is I want to be a formidable senior citizen. If someone tries to nab my purse or deny my senior discount at Denny's, I'll be able to answer with a quick roundhouse kick to the solar plexus. By laying the foundation now, I'll be a badass when I'm 65.
But the coolest thing about taking up karate when you're a woman in her mid-40's is that people don't automatically expect it. If you're just a casual acquaintance, you won't know I'm working toward my black belt. And by the time I'm collecting Social Security, the possibility won't even cross your mind. Unless you try to steal my purse.
In life most people become more complex as we get to know them. This should also be true for characters in children's books. At a conference recently, Lyron Bennett, editor for Sourcebooks Jabberwocky, called it "the slow reveal". It means giving your characters enough varied qualities that some can be withheld until called for in the plot.
The slow reveal is especially important when writing a series. If J.K. Rowling had allowed Harry Potter to reach his full power as a wizard in Book 1, would fans have waited nine years and six more books to learn if he finally defeated you-know-who? But equally important is planting the seeds early on for who you want your character to become. From the start, readers saw Harry's potential, and Rowling allowed greatness to surface in Harry when it was least expected. Those qualities grew along with Harry as the series unfolded.
You don't want to give away everything at once in stand-alone books either. Picture books and easy readers, with their lower word counts and straightforward plots, do best with characters who have one or two surprises up their sleeve. In Peggy Parish's classic easy reader Amelia Bedelia, the child sees that Amelia is doing a bad job on her first day as a housekeeper because she doesn't understand the list her employer left her. But even before Amelia starts on the list, she whips up a lemon merengue pie. What the reader doesn't know is that Amelia makes the best pies anywhere, which eventually saves her job at the end of the book.
Parceling out your protagonist's strengths and weaknesses keeps the tension taut in a novel. In Gary Paulsen's beloved Hatchet (ages 11-14), Brian, a city kid, is stranded in the Canadian wilderness after the his bush plane crashes, killing the pilot. Neither Brian nor the reader know if he's got what it takes to survive on his own. Can he figure out how to start a fire? Yes, quite by accident. Can he fish? Eventually. Kill and cook a bird? How about survive a moose attack or weather a tornado? Brian evolves from reacting to his predicament and stumbling upon solutions to carefully taking control of his situation. But nothing Brian does is out of character. Though he must teach himself to live in the wild, he draws upon bits of information he learned from watching television or at school, and reserves of strength that were in him all along.
Even if you're writing a single title, make your children's book characters complex enough to live for several books, just in case. Fans loved Brian so much that Paulsen was persuaded to use the character in several other wilderness adventures. Picture book series (such as Mo Willem's Pigeon books) or easy reader series like Amelia Bedelia generally grow because the protagonist's quirks are open-ended and funny enough that readers don't mind exploring them over and over in different circumstances.
The slow reveal works particularly well in mysteries. In this genre, the readers gradually get to know the victim (perhaps an honor student who is discovered to be running an Internet business selling test answers), and the villain (who may seem like a good guy at the beginning of the book). Or, how about a first person narrator in any genre who appears normal and likable early on, but becomes more unreliable as the story unfolds? Read Robert Cormier's timeless young adult I Am the Cheese for a masterful example of a shifting first person reality. If you prefer a broader perspective, try Avi's Nothing But the Truth: A Documentary Novel for ages 11-14, which looks at one incident from several viewpoints, gradually separating fact from fiction. So when you first breath life into your characters, don't stop too soon. Add layers that can be exposed later on. These surprises will keep readers enthralled, whether you're writing about a boy wizard, a demanding pigeon, or a ninja grandma.
Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about how to write children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com and the CBI Clubhouse at http://cbiclubhouse.com |  |
By: Sally Murphy,
on 10/30/2008
Blog: Scribblings (Login to Add to MyJacketFlap)
JacketFlap tags: writing advice, articles, laura backes, Add a tag
Do you want to write great fiction? I know I do. Lauara Backes has some great advice on how to make this happen. GREAT FICTION COMES FROM WRITING LIGHTLY by Laura Backes, Publisher, Children's Book Insider, the Newsletter for Children's Writers Great fiction appears effortless to the reader. The characters and setting are so real, the story so believable, that the reader is completely unaware
By: Sally Murphy,
on 10/7/2008
Blog: Scribblings (Login to Add to MyJacketFlap)
JacketFlap tags: laura backes, articles, editing, Add a tag
Today's article is about something which is key to every well-written manuscript - editing. But in spite of its importance, many writers avoid the task of editing, sometimes through lack of understanding of what's needed. Laura Backes' advice on the topic is excellent. EDITING SECRETS by Laura Backes, Publisher, Children's Book Insider, the Newsletter for Children's Writers Once you’ve
I'm going to have to consider the slow reveal in my WIP. Thanks for the examples and the post.
Terrific! Laura's lecture at the Muse Online Writers Conference is terrific also!
Regards,
Donna