NaNoWriMo Lessons

 

NaNoWriMo is nearly 75% over. Shocking how quickly time goes by. How are you doing with your writing? Did you decide to participate? Did you plot it out or come up with an idea and run with it? 

Admittedly, I've never been a huge fan, but there is so much to gain if you commit to writing for thirty days. 

Planning 

Maybe some writers can have an idea in their heads and run with it. I'm not sure there are many of those out there who are successful. After all these years of being a total panster, I've discovered sometimes you need more than just the idea or a few character sketches.

This year's approach involved following a process of creating a synopsis, scene settings, a list of characters and their story arcs; outlining the plot, subplots, and inciting incidents; and then developing numerous scenes, so that when writing began, the words flowed easier.

Discipline

It can take an average of 30 to 60 days to change a bad habit, and longer than two months to create a habit. When you have only 30 days to reach 50,000 words, you need to hit 1,667 daily or be willing to make up the gap the next day. 

Daily writing has numerous benefits. It helped me write faster than ever before, even if I am still slower than I would like. Other known benefits include:

• Becoming more aware of overused words and phrases
• Learning what your writing style is
• Giving you a sense of accomplishment
• Potentially making you more money

Community

Writing can be a solitary task. Critique groups serve their purpose, but with NaNoWriMo you can have buddies to cheer you on. This is something I encourage you to find even after NaNoWriMo is over. 

Whether you participated this year or not, here's hoping you are developing a plan to increase your productivity in 2024 with daily writing. 

Cheryl C. Malandrinos is a freelance writer and award-winning editor. She is the author of four children’s books including, A Christmas Kindness, released by 4RV Publishing. A blogger and book reviewer, she is a member of SCBWI and lives in Massachusetts with her husband and three adult children. Visit Cheryl's website at https://ccmalandrinos.com or her children’s book blog at https://childrensandteensbookconnection.wordpress.com

Tackling the Big Gorilla: Tips for Adding NaNoWriMo to Your Jam-Packed Schedule

 

Can a writer add a large project like NaNoWriMo into an already jam-packed schedule? 

To answer that question, you must consider the commitments you already made. Then you can create a realistic schedule that allows you to add in such a project. 

The first thing to do is take out a piece of paper or fire up your computer and make three columns:  home, work, and volunteering. Under each heading, list all you have to do for the month of November, noting deadlines where necessary. Then the actual work begins. 

Review each item on your to-do list to see if it’s something you can delegate or change the deadline. You must also consider if you have the time to dedicate to volunteering. Let’s talk more about these steps. 

Delegate What You Can 

The easiest way to remove things from your to-do list is to delegate. Gasp! You mean I am expected to allow someone else to handle things I only trust myself to do?  

Though it is tough to give up control, unless you want the entire month to pass by in a stress-filled blur, you need to ask for help. You can delegate household chores, errands, even meal preparation to other members of your household. Even small children can help keep the living areas of your home clean by picking up their messes before bedtime.  

Are These Firm Deadlines? 

Adding a big writing project may require you to adjust deadlines for smaller projects. This should not be done without giving it a great deal of thought. Some things to consider are: 

• What is the impact on my relationship with this client if I ask for an extension?
• Have I asked this client for an extension in the past?
• What is the impact on my overall business if I can’t meet this deadline? 
• What is the impact of this new writing project on my overall business? 

Once you’ve damaged a relationship, it takes a tremendous amount of work to repair it. Constantly asking for extensions gives the impression that this client isn’t important to you. 

On the flip side, if a large project will have a positive impact on your overall career, it can be worth making it happen. If it becomes necessary to move a deadline, let clients know in plenty of time and be ready to offer them a new “firm” deadline for the completion of their projects. 

Do I Have Time to Volunteer? 

Review your volunteering list for November. Is it realistic to be involved in those activities and commit to a large writing project at the same time? If it isn't, but you're committed to NaNoWriMo, you might have to say that dreaded two-letter word. No can be difficult to say, but you’re only saying no for the duration of this writing project, not forever. 

If you decide to tackle the big gorilla of NaNoWriMo, making a realistic schedule will increase your productivity.

Cheryl C. Malandrinos is a freelance writer and award-winning editor. She is the author of four children’s books including, A Christmas Kindness, released by 4RV Publishing. A blogger and book reviewer, she lives in Massachusetts with her husband and three adult children. Visit Cheryl's website at https://ccmalandrinos.com or her children’s book blog at https://childrensandteensbookconnection.wordpress.com

Writing Superpowers - Dialogue

 

The hosts of a kidlit podcast spoke about how their superpowers helped them in working with author clients. That conversation got me to thinking about what I might say are my superpowers and how they help the authors I work for as an editor. We will look at my three superpowers over the next few weeks. 

I write good dialogue.

It might take a few drafts to get there, but the final copy flows naturally. It isn't interrupted by useless tags, doesn't dump a whole bunch of information on the reader, and makes each character unique.

Let's talk about dialogue for a moment. Here is a typical conversation you might have as you enter a meeting with a colleague.

"Hello," I said.

"Hey," my colleague responded.

I ask, "How are you doing?"

"Okay," he said. "You?"

"Fine." I sat down in my chair.

"Did you read the materials Mary emailed to us?" he asked.

Nodding, I replied, "Yes. Hope we aren't here for too long."

"It will take as long as it takes." 

Mary entered the boardroom. "Great, you're both here. Let's get started. We might have to order lunch in." 

"Wonderful," I replied. 

Could you make it through this passage without yawning? 

Dialogue isn't boring everyday speech. It serves a purpose: to move the story along and engage the reader. Unlike the example above, greetings and small talk are often eliminated because they don't serve that purpose.

Tags help identify who is speaking to the reader, but too many "he said" and "she said" tags interrupt the flow of engaging dialogue. Renowned author Jerry Jenkins once rewrote a book by incorporating actions and descriptions to attribute dialogue to characters instead of using the "he said/she said" tags. 

Side note: In writing, we may change up said with other words: exclaimed, grumbled, and my all-time favorite, smiled. Have you ever tried to talk while you're smiling? Said often goes unnoticed by the reader, who is focusing on what the character is saying, which is why it is the preferred tag. Let your characters' actions communicate their emotions.

Dialogue shouldn't dump a bunch of information on the reader. I once read a Civil War novel about two brothers that spent pages and pages having characters share stories about the current conflict. Instead of moving the story along, this info dump distanced me from the characters. By the end of the novel, I felt I really didn't know the brothers at all. Any information that is communicated through dialogue needs to move the story forward. 

Good dialogue, when blended with action--and sometimes intentional inaction--helps you to create unique characters. While a character's dialect or accent can make them stand out, pitch, volume, and tone are equally important. Other things to consider:

• Setting and background can influence how characters speak.
• Personality influences how they speak.
• The way characters speak could change depending upon the situation they are in.

Let's look at the interaction from earlier, with small talk eliminated and more action and dialogue that moves the story forward.

Mark peered over the screen of his laptop where he had been tip-tapping away, to flash me a smile. His fluorescent white teeth made me squint. “Did you read the materials Mary emailed to us?”

Marching to the opposite side of the room, I slid the laptop bag off my creaky, middle-aged shoulder and placed my belongings on the table. My lips curled into a sneer. “Yes. Hope we aren’t here for too long.”

“My, my, my,” he said. “Someone forgot their gratitudes and affirmations this morning.” 

Mary waltzed in before I could respond. “Great, you’re both here. Let’s get started.” She tapped the pile of client folders she had carried in. “We might have to order in for lunch.” 

My fingers curled around my cup of tea. “Wonderful.” I hope Mark is available to pick up the kids from school. 

Does this version give you a totally different idea of what is going on here? Does it change how you view the characters' relationship? Do you see some personality shining through? Is it more engaging? Another edit or two and it might find its way into a story. 

What is one of your writing superpowers? What do you like best about writing dialogue? What are your biggest struggles with writing dialogue?

Cheryl C. Malandrinos is a freelance writer and editor. She is the author of four children’s books including, A Christmas Kindness, released by 4RV Publishing. A blogger and book reviewer, she lives in Massachusetts with her husband and three adult children. Visit Cheryl's website at https://ccmalandrinos.com or her children’s book blog at https://childrensandteensbookconnection.wordpress.com

How to Give Basic Writing Advice

Contributed by Karen Cioffi, Children's Writer

 A while ago, I was asked to look over a children’s fiction picture book manuscript. This was not a paying job, just a favor.

The ‘new to writing’ authors, who are both health care professionals, had already been calling major publishers to find out submission requirements. They were told their manuscript would not be looked at without an agent.

So, they went to the library to find a book on top agents.

While this is a worthy endeavor, there are some basic first steps to take before shooting for the stars.

Just glancing at the manuscript, I knew it needed a lot of work. And interestingly, I was surprised to see so many errors in a simple 600-word story.

It seems as we progress in learning the craft of writing, we forget that we didn’t know the very basics at one time either.

So then, I had to figure out what to say to the authors without alienating them or totally discouraging them.

When critiquing or giving writing advice, it’s important to begin with the positive aspects of the manuscript. If the errors are basic and there are a lot of them, you may also want to state them in generic terms, not to offend the author/s.

What does this mean?

Well, it’s not a good idea to say, “You shouldn’t have the children’s picture book manuscript formatted in lists, numbered, or in Australian Sunrise 10pt font.”

Instead, you might say, “Manuscripts are usually preferred typed in New Times Roman 12pt font, and are double spaced using a free form flow with the first sentence of each paragraph indented.

See the difference?

To help with clarity, you could include a first page example of a manuscript you have, or rewrite the 1st paragraph of the authors’ manuscript.

If there are just too many errors, for time’s sake you can make a list of proper manuscript formatting tips. This is the approach I took.

I started out with the ‘positive:’

This is a wonderful idea for a children’s book and has great potential, especially that both of you are professionals in the health field. Children will certainly benefit from the story’s information. It could use some tweaking, though.

Then I added the following:

Here are a few tips for writing and formatting a manuscript to help get it submission ready:

•    Manuscripts should be formatted in 12 pt Times New Roman Font
•    They should be double spaced
•    They should be in free form without numbering for pages or in list form
•    The first sentence of each paragraph should be indented
•    Children love action – actions are better shown through ‘showing’ rather than ‘telling’
•    Notes for illustrations after each of your intended pages are usually frowned upon by publishers
•    Most publishers, especially the major ones use their own illustrators
•    Manuscripts are more likely to make it past the slush pile if they are polished
•    Usually writers go through a process of one or two critique groups and writing groups. After rewrites and editing it gets to a point where it looks perfect. That’s when it needs to be professionally edited.

These tips are part of the advice I offered the authors and I kept it as generic as possible.

After you note the manuscript errors, you should end your advice on another positive note. You might say, “With rewriting and editing, you will have an engaging story that children will be sure to love, and it’ll be submission ready.”

I then provided several writing links about writing for children and editing.

Since every author’s personality is different it’s usually best to use the gentle approach when offering writing advice.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author and children’s ghostwriter, rewriter, and coach with clients worldwide. She is also the founder and editor-in-chief of Writers on the Move and an author online platform instructor with WOW! Women on Writing.

Karen’s children’s books include “Walking Through Walls” and “The Case of the Stranded Bear.” She also has a DIY book, “How to Write Children’s Fiction Books.” You can check them out at: https://karencioffiwritingforchildren.com/karens-books/. If you need help with your children’s story, visit: https://karencioffiwritingforchildren.com.  

 

Are You Showing or Telling?

 

By Karen Cioffi

I've written about showing and telling before, but it’s such an important topic that I think more information is always helpful.

Writing is an ongoing adventure…always something to learn and tweak and hone. A while ago I wrote a children’s story and found I still had a bit of showing in it. This was noted by writing coach and children's author Suzanne Lieurance who gave it a critique.

I was toying with the idea of submitting my story as a picture book, but was advised it would work out better as a children’s magazine article, unless I wanted to rewrite it specifically for a PB.

Anyway, I noticed that when I write, and I think this goes for most of us, my thoughts precede my reading and writing ability – so I don’t catch my own errors.

This happens because I know what I wrote and what I intend to convey. This makes it almost impossible for a writer to edit her own work. You can get close, but as the saying goes, Almost Doesn’t Cut It.

What do I mean? Well, let’s look at a simple sentence:

In a daze, Pete stumbled to his feet.

While this isn’t the exact sentence in my story, it is similar. I revised my article and reread it numerous times and didn’t notice that “in a daze” is telling, not showing. And, what’s the KEY to writing in today’s fast paced, no time to waste world? FOCUS AND TIGHT WRITING.

In fact, the fast-paced reader of today is getting even more impatient and ready to move on in the blink of an eye. So, we need to take this into consideration in our writing and marketing.

Okay, back to the focus of the article…

So, how do we change the above sentence into a showing only sentence?

Dazed, Pete stumbled to his feet.

Really simple when you are able to actually read what is written rather than already know what you intended.

What are the important tips to take away?

1. Make sure you are part of a critique group. These groups can be super-helpful. If you’re a children’s writer, you can find one in the forum of Society of Children’s Book Writers and Illustrations (SCBWI). There’s a yearly fee, but it’s worth the investment.

2. Belong to writing groups in the genre you write. You can usually ask questions and get answers.

3. If your budget can afford it, get at least one grammar editing tool. I use Grammarly and ProWritingAid. They may not specifically tell you you’re ‘telling’, but they will tell you if you’re using passive writing.

Just be careful not to depend on these tools solely. I’ve had both tools miss an ending dialogue punctuation on a client’s work.

4. Do not submit your work to a publisher or agent before you’ve edited it and proofed carefully. It’s important to have someone who knows how to write to review or critique your manuscript for you (if you’re not already a part of a critique group).

5. If it’s in your budget, have it professionally edited.

For more on showing versus telling visit:
https://karencioffiwritingforchildren.com/2017/05/14/writing-showing-vs-telling/ 

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author and children’s ghostwriter, rewriter, and coach with clients worldwide. She is also the founder and editor-in-chief of Writers on the Move and an author online platform instructor with WOW! Women on Writing.

Karen’s children’s books include “Walking Through Walls” and “The Case of the Stranded Bear.” She also has a DIY book, “How to Write Children’s Fiction Books.” You can check them out at: https://karencioffiwritingforchildren.com/karens-books/. If you need help with your children’s story, visit: https://karencioffiwritingforchildren.com. 

Can All Kid's Stories be Turned Into Books?

By Karen Cioffi

 As a children’s author, editor, and ghostwriter, I’ve only seen one story that couldn’t tweaked, nudged, shaken, or even deconstructed and reconstructed into a publishable story.

The concept and author of that one book were, well, not quite all there. Dealing with so many clients, I’m surprised I’ve only had one so far.

Aside from that, though, most stories or drafts can be magically turned into something an author will be proud to be author of.

A big problem I see is that new authors sometimes don’t know what a publishable story is.

But, wait a minute …

Let me clarify what I mean about a publishable book because today, any story can be published, whether poorly written or well written story.

When I use the term “publishable,” I’m talking about a book that meets the standard children’s U.S. publishing guidelines.

Three of the top mistakes I see that would warrant taking another stab at your story or demolishing it and starting over are:

1. The point-of-view

You’re writing a picture book or chapter book and have more than one point-of-view (POV).

This can happen when you have two or more main characters in your story, or it can occur if you have head-hopping in your story.

Let’s go back a step and define POV. Every story has to be told from someone’s perspective. In other words, who is the story about?

It’s essential in young children’s writing that you clearly define who the protagonist (main character) is. And, there should only be one.

Jerry Jenkins, the author of over 190 books, says he avoids slipping into an omniscient viewpoint “by imagining my Point of View or Perspective Character as my camera—I’m limited to writing only what my character ‘camera’ sees, hears, and knows.”

So, POV is a critical element of your story. Check to make sure you have only one POV and it’s that of the protagonist.

Head-hopping is slipping from one character’s POV to another within the same page, paragraph, or sentence.

In the example below, Tommy is the protagonist:

Tommy dug his cleats in. He raised the bat to his shoulder. A second later, he watched the ball heading toward him . . . like a torpedo out of its tube. Without blinking, he swung the bat. CRRAACCK. Stunned, he dropped the bat and ran. Did . . . did I just hit the ball.

“Pete,” said Jim with a nudge, “you see that. I didn’t think he’d hit that ball—it came so fast.” Jim threw a pretend pitch. “Look at him running round the bases.”

The second paragraph in the example is a no-no. It brings Jim’s perspective into the story since Tommy couldn’t see or hear him.

Tommy is the protagonist and must know what’s going on in the story, or it can’t be in the story.

This could be rewritten, though:

Tommy dug his cleats in. He raised the bat to his shoulder. A second later he watched the ball heading toward him . . . like a torpedo out of it tube. Without blinking he swung the bat. CRRAACCK. Stunned, he dropped the bat and ran. Did . . . did I just hit the ball.

When Tommy raced to home plate, he heard Jim yelling, “I didn’t think he’d hit that ball—it came so fast.”

Now it’s all from Tommy’s point of view.

2. Adults save the day.

Children want to read about children. They want the protagonist to solve his own problem.

While parents or other adults in a story can be a support system, their involvement needs to be minimal. The young protagonist needs to come up with the solution to her problem.

Using “Stephanie’s Ponytail” by Robert Munsch, Stephanie wants to be unique. Here’s how the story starts:

“One day, Stephanie went to her mom and said, ‘None of the kids in my class have a ponytail. I want a nice ponytail coming right out the back.’”

The problem, though, is the day after Stephanie comes in with that particular ponytail, all the girls in her class have it. So, each day she tells her mother to create another specific kind of ponytail. The day after each new ponytail, the class copies her.

At the end, Stephanie comes up with a clever and funny idea that cures the class of copying her.

While the mother is involved in the story, it’s Stephanie who comes up with all the ideas. And it’s Stephanie who solves the problem.

3. Jumping in without learning how to swim first.

You’ve wanted to write a children’s book for years. You have tons of ideas, and you’ve even written a couple down. It’s gotten to a point where you can’t wait any longer; you put one of your ideas into a story.

You type or write away and finally, you have your story, and it seems great.

-Picture books can be 10 pages, right?
-You ‘kind of’ draw, so you can create your own illustrations, right?
-You have a couple of rhymes here and there, so that’s good, right?

While you may have a great story idea, standard picture books are usually 32 pages, and of those pages, 24-26 are for story and illustrations. Unless you’re a professional illustrator, you shouldn’t create your own illustrations. And, either you’ve written a rhyming story or not.

There are lots of other elements that you need to be aware of before jumping in to write a publishable book.

So, there you have it, three top children’s writing mistakes.

If I were to give a number 4, it would be that you have TOO much showing in the story. If I were to offer a number 5, it would be that you’re trying to knock the young reader over his head with the moral of the story.

Hope these tips help you when you sit down to write your story.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, a successful children’s ghostwriter with 300+ satisfied clients worldwide, and an author online platform instructor with WOW! Women on Writing. For children’s writing tips, or if you need help with your children’s story, visit: https://karencioffiwritingforchildren.com

You can check out Karen’s books at:
https://karencioffiwritingforchildren.com/karens-books/

Foreshadowing in Fiction

 

Foreshadowing is a literary device used to make the reader wonder. It gives the story a sense of mystery or anticipation. It can also create tension.

According to Literary Devices (1), using this device, “a writer gives an advance hint of what is to come later in the story."

Foreshadowing is a great device to keep the reader involved in the story and the characters.

There are a number of foreshadowing strategies. Below are four of them.

An Approaching Event

An example of this type of foreshadowing is in “Walking Through Walls.” Wang (the protagonist) listens as his friend, Chen, tell how neighboring warriors kidnapped his sister.  

The reader surmises or anticipates that there will be an upcoming battle to rescue Chen’s sister.

The Pre-scene

A pre-scene hints at something on the horizon.

Another example might be a new student entering a classroom and another student eyes him up and down. Nothing else happens in that particular scene.
 
The reader automatically anticipates there will be trouble between the boys down the road.

In an article at Novel Writing Help, “a pre-scene is simply a smaller version of a larger scene to come. They are not significant by themselves, but they imply that there is something more spectacular waiting to happen right around the corner.” (2)

The Loaded Gun

This strategy is attributed to Russian author and playwright Anton Chekhov.

He said, "If you say in the first chapter that there is a rifle hanging on a wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there." (3)

This type of foreshadowing doesn’t have to use a gun; it could be any object.

For example, suppose a boy is cleaning out the attic of a hundred-year-old home for a neighbor. He finds an old corroded coin. He absent-mindedly shoves it in his pocket.

The reader knows the coin is significant and expects something to happen pertaining to it in the story. If the writer is smart, she will fulfil the reader’s expectation.

The Prophecy

With this type of foreshadowing, a glimpse of misfortune to come from something that happens is given to the reader.

As an example, the albatross is a sign of good luck if seen by sailors. With the reader being privy to this knowledge, a sailor sees one fly over his ship at the midway point on every voyage he’s on. But, on this particular voyage, there is no albatross to be seen.

The implication to the reader is that there is going to be trouble for this sailor and this voyage.

Don’t Overdo It

While adding foreshadowing to your fiction story is an effective writing device, you don’t want to overdo it.

In an article at NY Book Editors, it explains that “to balance your story, there needs to be revelations and circumstances that catch the reader off-guard. If your reader is in a constant state of analysis [over foreshadowing], your pacing will suffer. To strike the perfect balance, introduce hints but then jolt your reader with something unexpected.” (4)

If you’d like to read more about foreshadowing and your fiction writing, check out the references below.

Foreshadowing is an excellent literary device when used properly. As mentioned early, it creates reader anticipation among other things.

This post first appeared at:
https://karencioffiwritingforchildren.com/2018/04/08/writing-fiction-what-is-foreshadowing/

About the Author

Karen Cioffi is an award-winning children’s author, successful children’s ghostwriter, and an author online platform instructor with WOW! Women on Writing. Check out her middle-grade book, Walking Through Walls, and her new picture book series, The Adventures of Planetman: Click here.




 

Writing Fiction vs. Writing Nonfiction

  

By Karen Cioffi
 
Writing fiction and writing nonfiction have some distinct similarities and differences.

But, before we get into that, let’s find out the definitions of fiction and nonfiction:

Fiction: According to Merriam-Webster.com, fiction is “something invented by the imagination or feigned, specifically an invented story; the action of feigning or of creating with the imagination.”

Nonfiction: Merriam-Webster’s definition of nonfiction is “literature or cinema that is not fictional.” According to Allwords.com, nonfiction is “written works intended to give facts, or true accounts of real things and events.”

Now on to the similarities and differences.

Writing Fiction and Writing Nonfiction Similarities:

1. You need to start with an idea.
2. You can write about almost anything.
3. You need ‘good’ writing skills (at least you should have good writing skills).
4. You need to have a beginning, middle, and end to the story.
5. You need to have an engaging, entertaining, informative, or interesting story.
6. You can work from an outline or you can seat-of-the-pants it.
7. You may need to do research.
8. You need to revise, proof, and edit your work.

Writing Fiction and Writing Nonfiction: Two Significant Differences

1. If you are writing nonfiction, you must stick to truths and facts, a nickel is a nickel, the sun rises in the east and sets in the west, two plus two equals four, and 10 times 10 equals 100. While there may be some grey areas, such as perspective, circumstances, or circumstantial evidence leading up to a fact based story, the fact is always the fact.

As an example: According to “The World’s Easiest Astronomy Book” (9/15/2009) by Hiroshi Nakagawa, “The speed of light is 300,000 km (186,000 miles) per second, meaning that light could circle the Earth seven and a half times in a single second. Even at this incredible speed it still takes light from the Sun eight minutes to reach the Earth. That means that when we see the Sun, what we actually see is the Sun from 8 minutes ago” (p. 13).

These are facts. 

If you’re writing a nonfiction story about astronomy, these facts can’t change. Your story is limited to truths and facts. This is not to say the story can’t be amazingly interesting and engaging. The children’s middle-grade nonfiction book “The World’s Easiest Astronomy Book” can certainly spark a child’s imagination and interest in astronomy.

On the other hand, if you’re writing fiction, your imagination is your only limit. You don’t have to stay within the confines of what is known, what is truth. This offers a certain freedom.

If you want the sun to be ‘blood red,’ then it’s blood red. If you want to be able to travel to the moon in the blink of the eye, then it’s so. If you say a character can ‘walk through walls’ or is invisible, then he can and is. You can create new worlds, new beings . . . again, your imagination is your only limit.

2. In writing nonfiction you will most likely need to provide reference sources and add quotes to your story. This is to establish the reliability and credibility of your story.

In this case, you will need to reference the source of the quote.

If you notice above, in regard to the facts about the speed of light, I included the name of the book and the author along with the page number. These references substantiate the facts within your article. This makes your nonfiction story credible.

This is not the case with writing fiction. 

With fiction, you will NOT need information references for credibility. Although, it’s important to realize that your fiction story will become its own truth and you will need to stay within the confines of the particular story and realm you create.

The reason for this: every story needs structure and intent; it needs to move forward to a satisfying ending. If you move off in too many directions, you’ll lose your intent and most probably your reader. To ensure the structure and your intent remains intact, you’ll need to stay within the confines of the story you create.

While the similarities between writing fiction and writing nonfiction seem to outweigh the differences, the differences are significant enough for most writers to prefer one genre over the other.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, a successful children’s ghostwriter with 300+ satisfied clients worldwide, and an online platform instructor with WOW! Women on Writing. For children’s writing tips, or if you need help with your children’s story, visit: https://karencioffiwritingforchildren.com

You can check out Karen’s books at: https://karencioffiwritingforchildren.com/karens-books/

Building a Writing Career Takes Practice and Focus

 

Several years ago, my grandson, 10 at the time, was trying out for the All County Band in his area. He told me the piece he had to play was difficult. I told him that practice is a powerful tool. Just 10-15 minutes a day will help tremendously.

Obviously, the more practice the better, but my grandson, like so many kids today, has ADHD. Reducing the amount of time on practicing doesn’t make it seem overwhelming – it’s doable.

This philosophy will work for anything, including writing.

What does it take to have a flourishing writing career?

1. Learn the craft and practice it.

To be a ‘good’ writer, an effective writer, a working writer, you need to know your craft. The only way to do this is to study it.

If you’re starting out, take some courses online or offline or both. You should also read a lot of books on the craft of writing. Get a strong grasp of the basics.

We’re all familiar with “practice makes perfect.”

There’s a reason that saying has lasted. It’s true.

Writing coach Suzanne Lieurance says, “Writing is a lot like gardening because it takes constant pruning and weeding.”
 
You need to keep up with your craft. Even as your get better at it, keep honing your craft. Keep learning more and more and practice, practice, practice

So, what does it mean to practice?

Simple. Write. Write. Write.

An excellent way to improve your writing skills is to copy (type and/or handwrite) content of a master in the niche you want to specialize in.

This is a copywriting trick. You actually write the master’s words and how to write professionally mentally sinks in.

Now, we all know that this is just a practice tool. We should never ever use someone else’s content as our own.

A second way to improve your writing skills is to read, read, and read some more. Read books in the genre you want to write in particular. Study the books.

2. Focus in on a niche.

Have you heard the adage: A jack of all trades and master of none?

This is the reason you need to specialize.

You don’t want to be known as simply okay or good in a number of different niches. You want to be known as an expert in one or two niches.

This way, when someone is looking for a writer who specializes in, say, memoirs and autobiographies, you’re at the top of the list.

I would recommend that your niches are related, like memoirs and autobiographies or being an author and book marketing.

Along with this, focus produces results.

According to an article in Psychology Today on focus and results, Dan Goleman Ph.D. says, “The more focused we are, the more successful we can be at whatever we do. And, conversely, the more distracted, the less well we do. This applies across the board: sports, school, career.”

So, practice and focus your way to a successful writing career.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, successful children’s ghostwriter, and online platform instructor with WOW! Women on Writing. Check out her middle-grade book, Walking Through Walls, and her new picture book series, The Adventures of Planetman.

You can connect with Karen at:
LinkedIn  https://www.linkedin.com/in/karencioffiventrice
Twitter  https://twitter.com/KarenCV
Facebook  https://www.facebook.com/writingforchildrenwithkarencioffi/

 

Writing a Story or Storytelling?

 

A children’s publisher (4RV’s Vivian Zabel) commented on the difference between storytelling and writing. She explained that storytelling involves visual aids, whereas writing does not.

Granted, children’s picture books do provide illustrations in the form of
visual aids, they're not the same as storytelling’s visual aids.

I had never thought of this before, but once it was said I could see it clearly.

Storytelling

Storytelling allows for the use of visual aids, which includes facial expressions. There is also voice tone, word pronunciation, along with word or phrase stressing that help aid in conveying sadness, anger, fear, and an array of other emotional sediments. This is also known as voice inflection.

Along with facial expressions and voice inflection, the storyteller can also take advantage of movement.

Imagine telling a group of children a spooky story that has the protagonist tiptoeing around a corner to see what’s there. As a storyteller you can actually tiptoe, hunched over; and exaggerating the movement enhances the suspense. Visual aids are easy to use and are powerhouses of expressions.

Another example might be if you are telling a pirate story to a young boy. You can use toy props, such as a toy sword or pirate’s hat, while limping with a pretend wooden leg. These visuals enhance the story experience for the child without the storyteller having to create the imagery with words.

Writing a Story

Writing on the other hand depends solely on the writer’s interpretation of what the facial expressions, voice, mannerisms, image, and body movement of the characters might be. And, that interpretation must be conveyed through words that preferably ‘show’ rather than ‘tell.’

If you think about it, storytelling is much easier than writing a story. But, most of us authors are writers, not storytellers, and as writers we need to convey emotions and activity through showing.

In the storytelling examples above, how might you write the scene as an author?

For the first scenario of a spooky story, one example might be:

Lucas grabbed his little brother’s hand and pulled him close. “Shhh. Don’t make any noise. It might hear us.” They crept along the wall, barely breathing, until they reached the . . .

While this passage doesn’t have the advantage of the storyteller’s visual aids, it does convey a feeling of suspense and fear.

In regard to a pirate story, as an author you might write:

Captain Sebastian grabbed his sword and heaved it above his head. “Take the ship, men.”

The pirates seized the ropes and swung onto the ship. Swords and knives clanking, they overtook their enemy.

This short passage clearly conveys a pirate scene with Captain Sebastian leading his men into a battle aboard another ship. No visual aids, but it does get its message across.

You might also note that while trying to write your story through showing, you need to watch for weak verbs, adjectives, and a host of other no-nos. In the sentence above, the words, “barely breathing” might need to be changed if it reached a publisher’s hands. Why? Because “ly” and “ing” words are also frowned upon.

So, knowing the difference, if you had your choice, which would you prefer to be, a storyteller or a writer?

I'd be a writer!

This post was first published at: https://karencioffiwritingforchildren.com/2017/06/25/storytelling-vs-writing-a-story/

 

About the Author:

 

Karen Cioffi is an award-winning children’s author, successful children’s ghostwriter, and online platform instructor with WOW! Women on Writing. Check out her middle-grade book, Walking Through Walls, and her new picture book series, The Adventures of Planetman.
 

Writing Rhyme

 

Rhyming, when done right, is a wonderful way to engage children.

Children, as soon as they’re able, love to rhyme words . . . and this can begin as early as two-years-old: cat-hat, mouse-house.

But, to write a rhyming story . . . a well written rhyming story . . . is difficult; you need a good story, rhyme, rhythm/beat, meter, stresses, and more—all this in addition to the already unique rules and tricks in writing for children. And, some writers just don’t have that innate ability to do rhyme well. But, it can be learned.

According to Delia Marshall Turner, Ph.D., the elements of poetry are: voice; stanza; sound; rhythm; figures of speech; and form.

Voice (the speaker)
Stanza (the format of lines grouped together)
Sound (rhyme and other patterns)
Rhythm (the beat and meter – the pattern of stressed and unstressed syllables)
Figures of Speech (types of figurative language)
Form (the type of poem, its design)

Along with this there is perfect rhyme, and approximate rhyme:

Perfect rhyme: tie/lie; stay/day
Approximate rhyme: top/cope; comb/tomb

And, there are many more bits and pieces that go into writing poetry/ rhyme. But, the foundation that holds your rhyming story all together is the story itself—you need a good story, especially when writing for children.

Another great source of rhyming information is the article, “To Rhyme or Not to Rhyme” by Dori Chaconas, in the Writer Magazine, October 2001: “You may write in perfect rhyme, with perfect rhythm, but if your piece lacks the elements of a good story, your efforts will be all fluff without substance. I like to think of story as the key element, and if the story is solid, and conducive to rhyme, the rhyme will then enhance the story.”

This is a wonderful explanation because it mentions “if the story is solid, and conducive to rhyme.” This means that not all stories will work in rhyme, and the writer needs to know whether his will or will not.

So, if you’re interested in writing in rhyme, there are a number of sites and articles online that can help, there are also books available, and classes you can take. Do a Google search for the tools that are right for you.

A great place to start is:
http://www.underdown.org/mf-rhyme-and-meter.htm
https://www.writingrhymeandmeter.com/  

 

Karen Cioffi is an award-winning children’s author and a working children’s ghostwriter/rewriter and writing coach. She is also the founder and editor-in-chief of Writers on the Move as well as an author online platform instructor with WOW! Women on Writing.

You can follow Karen at:
LinkedIn  http://www.linkedin.com/in/karencioffiventrice
Twitter  http://twitter.com/KarenCV
You can check out Karen's Books at: https://karencioffiwritingforchildren.com/karens-books/

Which Comes First, Characters or Story?

 Many articles about writing for children and other genres suggest knowing your characters inside and out before beginning the story. In fact, information suggests that the author build the story around the characters after they are fully developed.

While this is good advice, and many experienced authors recommend this technique, there are some authors who occasionally watch their characters unveil themselves right before their eyes.

This is such an interesting method of writing. 

Your character introduces himself and gradually reveals bits and pieces, and blossoms as the story moves along. Sometimes a story doesn’t begin with this intent, it just happens. This is known as the seat-of-you-pants method of writing.

You do need to be careful with this method though - you may lose track of all the bits and pieces that make up the character. 

So, a good way to keep track of those quirky telltale marks, expressions, behavior patterns, and physical features is to note them on a separate page or character card as they become unveiled. You wouldn’t want your character to have brown eyes in one chapter and blue eyes in another - unless of course, it’s a science fiction or paranormal and part of the storyline.

So, is there a right or wrong answer to the question of which comes first, characters or story? That depends on the writer.

While it may be important to know your characters, and even have a family and background established for them, even if they are not used in the story, you can also become acquainted as you go along.

As your story develops you may find out if the character is fearful in certain situations, or if he is heroic. Sometimes it’s impossible to know this about a person, let alone a character, until circumstances create the possibility of the question.

It is one’s environment and circumstances that help develop his or her characteristics, fears, hopes, and so on. The same holds true for your character.

Using an example:

How would a child who never saw a mouse before react to one? 

There’s no way to answer that question until it happens. So, having the story help develop the character can be a useful tool. But, again, be sure to keep track of all the new features your character unveils along the way. 

Karen Cioffi is an award-winning children’s author and a working children’s ghostwriter/rewriter and writing coach. She is also the founder and editor-in-chief of Writers on the Move as well as an author online platform instructor with WOW! Women on Writing.

You can follow Karen at:
LinkedIn  http://www.linkedin.com/in/karencioffiventrice
Twitter  http://twitter.com/KarenCV

You can check out Karen's books at:  https://karencioffiwritingforchildren.com/karens-books/

 

How Do You Get Past the Gatekeeper?

 

 Just about every author knows about the "gatekeeper." The dreaded acquisitions editor who decides if your manuscript is worthy of her attention and the publishing house's backing. In other words, the editor who decides if your manuscript is worthy of a publishing contract.

To make sure your ‘good’ story becomes a 'worthy' story, the Writer’s Digest article, "7 Simple Ways to Make a Good Story Great," gives excellent tips on just what it takes to create a 'worthy' story.

The author of the article, Elizabeth Sims, explains that "there are subtle differences between fiction that’s passable and fiction that pops—fiction that shows that you know what you’re doing."

So what are those 7 strategies or tips?

1. Well, the first tip mentioned is the five senses. Sims says writers have to go beyond what is expected. Editors and agents want more. "They want physical business that deepens not just your setting, but your characterizations."

2. Next on the list is the use of idiosyncrasies. Each of us has some idiosyncrasy, some weirdness, some form of irrational behavior that makes us unique and interesting. Using those characteristics deepens and broadens your characters.

3. Third up is realism. Sims says, "Forget about being pretty." Write it as it is. Don't worry about it being raw or dark or unpopular. Don’t go for the popular or expected, make it real.

4. The fourth on the list is to write without 'dumbing' down. Readers are savvy and most are educated. They don't want to be written down to, to be told what to think and when. Let them fill in the empty spaces.

5. Fifth on the list is to keep it focused and moving forward. I've read a number of manuscripts that had 'pausing' information - content that wasn't needed in the story and that would make the reader pause, wondering why it was in there. Causing a reader to pause while reading is never a good thing. Pausing causes distraction, which may keep the reader from turning the next page.

6. Next up is the use of laughter. Wit and understated humor goes a long way in increasing engagement in a story. And, even if your novel is on the serious side, there will be moments in it that you can lighten it up a bit of subtle humor.

7. The final tip is to "make them cry." Sims aptly notes that, "Lots of books make readers laugh and lots make readers cry, but when readers laugh and cry while reading the same book, they remember it."

The gatekeepers have keen eyes, looking for weaknesses in your manuscript. Use these seven tips to help get pass those gatekeepers.

To read the Writer's Digest article, click the link:
7 Simple Ways to Make a Good Story Great

Karen Cioffi is an award-winning children’s author and a working children’s ghostwriter/rewriter. She is also the founder and editor-in-chief of Writers on the Move as well as an author online platform instructor with WOW! Women on Writing.

You can follow Karen at:
LinkedIn  http://www.linkedin.com/in/karencioffiventrice
Twitter  http://twitter.com/KarenCV 

 You can check out Karen's books at: https://karencioffiwritingforchildren.com/karens-books/

Children, the Environment, and Story Telling

 

Contributed by Karen Cioffi

Children, the environment, and storytelling: a few simple words yet when combined can become a powerhouse for teaching children the importance of taking care of our planet.

I belong to a number of writing groups, and was moderator of a children’s writing critique group. What I began to notice is how we as authors are missing the mark. I began to wonder why more authors aren’t incorporating conservation tidbits into their story telling.

The Perfect Format

Writers have the perfect format for teaching and molding children, and the perfect opportunity. From picture books to young adult novels, conservation and the environment are topics that authors should be thinking of writing about, or at least weave into their stories.

The saying goes, “you are what you eat,” well children become what they learn whether through their environment, including schooling, or reading.

If young children are afforded reading material that paints a picture of the benefits and consequences of conservation in simple and entertaining stories, what better way to instill a sense that they can be part of the solution and help protect our environment.

If those same children, while growing up, continue to read fiction and non-fiction stories that make mention of conservation and our environment, how much more will it have an impact on them and become a part of their lives.

While most authors may not want to devote their time to writing books about the environment, just a sentence or scene woven into a story will certainly have an effect. 

It can be a subtle mention. For example, if it’s a scene with a couple of friends hanging out or on their way somewhere, one or two sentences in the scene might be:

Lucas held the soda bottle in his hand, aimed carefully, and tossed it right into the trash can.

“Nice shot, Lucas, but that goes in the recycling pail,” said Thomas.

This would be the extent of the comment or mention of conservation in the story. It’s short, almost unseen, and yet it becomes a part of the reader’s experience.

Isn’t this what writers want to do, leave an imprint in the minds and hearts of their readers? And, it’s all the more gratifying if it’s a child’s mind and heart that you're helping to develop and mold.

Why not make our potentially thought provoking and lasting words take root.

In addition to entertaining through our books and stories, we can make a difference in our future, our children’s future and the planet’s future.

I took advantage of using storytelling to engage children and bring awareness about our environment with a three-book picture book series: The Adventures of Planetman.

The first book is available for sale: The Case of the Plastic Rings.

It's a great book for any children's home library and school library.

This article was originally published at:
Children, the Environment, and Story Telling 

Karen Cioffi is an award-winning children’s author, successful children’s ghostwriter, and author/writer online platform instructor with WOW! Women on Writing. She is also the founder and editor-in-chief of Writers on the Move.

For more on writing, stop by Writing for Children with Karen Cioffi.

And, if you’re looking for an easy-read, middle-grade fantasy adventure, check out WALKING THROUGH WALLS.

Or, you might be interested in a fantasy picture book written to bring awareness of our environment to children: The Case of the Plastic Rings – The Adventures of Planetman

 

5 Basic Rules to Becoming an Author

 Contributed by Karen Cioffi

It may seem like becoming an author today is a no-brainer. You just write something, get it up on Kindle, and you’re an author.

Well, that’s true, but I wouldn’t consider you an author. And, neither would any other experienced authors. And, chances are, if you get any readers, they wouldn’t call you an author.

To be an author, you need to create a quality book. You need to write a story that’s well written, that’s engaging, and that you can be proud to have your name on. Before this can happen, you have to have some knowledge of what you’re doing.

Below are five fundamental rules for ‘new to the arena’ authors.

1 Learn the craft of writing. Even seasoned writers are always honing their skills.

You can take online courses or classes. You can enroll in college classes. You can read, read, read books on writing. And, just as important, you should read books in the genre you want to write.

Tip: Don’t read exclusively in that genre, read in a number of genres, but focus on the genre you want to write in.

In addition, there are many writing blogs that offer great tips on the craft of writing. Take advantage of them.

Tip2: Learning the craft of writing includes learning how to self-edit your work.

2. Join a critique group and writing groups with new and experienced writers.

Even seasoned writers have trouble finding the trouble spots in their own stories. For this reason, you must belong to a writing group and critique group.

Critique groups see what you don’t. They spot: holes in your story, areas where you’re lacking clarity, grammatical errors, and so much more.

It’s essential to have your story critiqued or edited before you submit it for publication. This includes self-publishing. Just because you’re by-passing the publishing house gatekeepers, doesn’t mean you can forego having a polished story.

3. If you can afford it, work with a writing coach.

This really does make a difference. You get answers to all your questions, along with guidance and advice. Just be sure the coach knows her business.

There are lots and lots of people claiming to have the ability to teach you the ropes. Check them out first, before paying them. A good way to find reputable writing coaches is to ask other experienced writers.

4 Learn about marketing and book promotion.

Yep, this is a requirement of being an author. Even if you’re traditionally published, you’ll need to know the book marketing ropes. Look at heavy-hitter James Patterson’s TV commercials. He knows he has to market his own books.

Obviously, most of us can’t afford TV commercials, but if do online searches, you'll find many free articles, webinars, and even courses on how to promote and market your books. Take advantage of them.

The internet is severely overcrowded. There are thousands, more likely millions, of authors trying to sell their books. This means you need an edge. You need knowledge. You need something that will bring you to the forefront, or at least close to it.

Tip: If you’re thinking of hiring a service to help with your book marketing, be sure they’re reputable and know what they’re doing. Ask questions, such as:

- What’s the total cost?
- What distribution outlets will they use?
- Are press releases included? If so, which ones will be used?
- How long will the campaign last?
- What type of social media promotion do they use?

In other words, find out exactly what you’re paying for. And, ask around if anyone knows of them and if they’re reputable.

5. Pay it forward.  

Help other writers who are starting out. Okay, I know this isn't a prerequisite to becoming an author, but it should be.

Established authors have always taken the time to help other writers. I’ve benefited from this and now I do the same. I even created a blog with other experienced authors and we share writing and marketing tips. You can check it out at Writers on the Move http://writersonthemove.com,

Then, what you learn, pass along.

These are five of the basic elements of becoming an author. I hope they help you reach your writing goals.

Karen Cioffi is an award-winning children’s author, successful children’s ghostwriter, and author/writer online platform instructor with WOW! Women on Writing. She is also the founder and editor-in-chief of Writers on the Move.

For more on writing, stop by Writing for Children with Karen Cioffi.

And, if you’re looking for an easy-read, middle-grade fantasy adventure, check out WALKING THROUGH WALLS.

Or, you might be interested in a fantasy picture book geared to bring awareness of our environment to children: The Case of the Plastic Rings – The Adventures of Planetman.

You can check out Karen's Books at: https://www.4rvpublishing.com/karen-cioffi.html



 

Before Submitting Your Manuscript - 8 Hot Tips

By Karen Cioffi

Writing is a personal experience. Each writer faces his or her own obstacles and processes. But, one common aspect of writing is it always starts with an idea.

You may take that idea and turn it into an outline. You then take your outline and sprinkle it with letters and words and watch it grow. Words turn into sentences, sentences into paragraphs, and paragraphs into chapters.

The journey can take months and even years.

It's the love of writing, the love of your story, and the hope of publication keep you dedicated.

Then the day finally arrives. Your manuscript is complete. The query letter is ready. All you have to do is submit, submit, and submit again.

But, hold on a minute.

Have you gone over all the necessary steps to ensure your manuscript is actually ready to be submitted to a publisher or agent?

There are eight steps that every writer, especially those new to the business of writing, should follow before submitting a manuscript:

1.    Rewrite, rewrite, rewrite. Then self-edit your story until it’s the best it can be.

2.    Make sure you belong to a critique group in your genre and submit your manuscript to them.  

3.    Revise your story again taking into account the critiques you received.

Here you want to use common sense in regard to which critiques you listen to. If all your critique group members tell you a particular section of your children’s story isn't age appropriate, listen.

If one member tells you he/she doesn’t like the protagonist’s name, use your own discretion.

4.    Resubmit the manuscript to the critique group again. See if you’ve revised or removed all the problem areas.

5.    Proofread and self-edit the manuscript until you think it’s perfect.

6.    Print the manuscript and check it again. You’ll be surprised at the different types of errors that will be found in this format. You should use a colored pen or pencil for these corrections so they’ll be easy to spot later on.

7.    Now, it’s time for the final corrections. Give it another go over.

8.    Have your manuscript professionally edited.

If you’re questioning why you need to have your manuscript professionally edited after going to the trouble of having it critiqued and worked on it meticulously and endlessly, the answer is simple: An author and a critique group are not a match for the expert eyes of a professional editor.

Did you and your critique group catch all the punctuation errors?

How about knowing when or if it is permissible to use quotation marks outside of dialogue?

Do you know about the Find function on your word program to check for over used words, such as 'was' and 'very.'
 
What about ellipsis dots, or the over use of adjectives and adverbs? 

This is just the tip of the iceberg.
 
Isn’t it understandable why it’s important to take that extra step, and yes, expense, to have your manuscript edited?

If you’re undecided, ask the professional writers you know if they recommend it. You can also ask if they could recommend a qualified and affordable editor.

The powers that be, editors, agents, reviewers, and publishers, all know the difference between a professionally edited manuscript and one that is not.

Every house needs a solid foundation, right? Getting your manuscript professional edited is the same thing - it will provide a solid foundation.

The number of authors seeking publishers and/or agents is staggering. 

Yet, the number of publishers and agents is limited. If your budget allows, give your manuscript every advantage possible. 

One of those advantages is having it professionally edited. It can be the deciding factor in whether your manuscript makes it to the editor’s ‘to read’ pile or the trash pile. 

Karen Cioffi is an award-winning children’s author, successful children’s ghostwriter, and author/writer online platform instructor with WOW! Women on Writing. She is also the founder and editor-in-chief of Writers on the Move.

For more on writing, stop by Writing for Children with Karen Cioffi.

And, if you’re looking for an easy-read, middle-grade fantasy adventure, check out WALKING THROUGH WALLS.

Or, you might be interested in a fantasy picture book geared to bring awareness of our environment to children: The Case of the Plastic Rings – The Adventures of Planetman