Writing Children’s Stories With No Pink Fairies Or Old Fads

Each year I judged children’s fiction entered in the international writing contest sponsored by Writers-Editors.com, I often saw the same mistakes. Since the contest was “blind,” I didn’t know who submitted which manuscript, much less the age of the writers, but I suspect that most were very young or very not.

Stories and novel chapters typically sound like they're from young writers when they focus on trends or have fantastic settings with stereotyped characters who aspire, not to replacing Harry Potter, but to being him. I saw a lot of fairy tales with little pink fairies flying around too, but nothing to entice readers to follow them into (oh, please) Never (again) Land.

Whether sweet little stories or scary, fantasy fiction often has predictable people or plots. If writers do try something new, they’re apt to forget that young readers cannot always follow their sudden flights into a heightened vocabulary, including made-up words with which any earthling would say "What?"

Inappropriate vocabulary does not affect futuristic manuscripts only though. It’s also a problem in the “good ole day” stories where children-in-the-now do not know slang words or references to fads of a half-century ago. If such outdated words or phrases have real significance in a story, the context can help to explain, but too much of this will tuck resistant readers into an early nap.

Like most writers, older people want to tell their tales as a means of recording memories, working through old wounds, or validating their lives. That’s wonderfully healing and very appropriate in a journal, diary, or family album, but these stories seldom have anything to do with the young stranger on the other side of a page.

Relaying your own story has another potential hazard, too, since such manuscripts often go on way too long. What started out as a good idea can quickly bog down in details, descriptions, or rambling events that weaken the overall story. A true episode may be hard to cut, but what interests the writer can be too much for a restless child reader to sit still and hear.

One way to know whether you’ve fallen into this common trap is to ask if your story has a specific theme and purpose. If not, the pages may be a series of events loosely linked by the characters or setting. All is not lost though! As you revise your fiction for children, these tips might help:

• Focus on a particular child or group of children you know within your chosen age group.
• 
  
• Revise or rewrite your story with those specific faces in mind.
• 
  
• Look for a relevant theme to guide your revisions. For example, omit episodes that do not help either to enforce or to oppose your theme.
• 
  
• Begin the story with the main character identifying, clarifying, and/ or working toward resolving the main problem.
• 
  
• Consistently stay in the viewpoint of that character.
• 
  
• Without going back and forth, let the plot unfold as the story happens.
• 
  
• Remove long descriptions that hinder the story's movement.
• 
  
• Use a variety of sentence structures and lengths for older readers, but shorten long sentences in stories for young kids.
• 
  
• Avoid slang, archaic phrases, and words outside a present-day child's vocabulary.
• 
  
• Let context clarify the meaning of new or unusual words. If a word is key to the story, use it right away and, if need be, include a definition.
• 
  
• With the possible exception of an occasional crank or crackpot, portray adults in a positive light with no demeaning statements about law enforcement officers, teachers, parents, or grandparents.
• 
  
• Avoid biases and bigotry of all kinds.
• 
  
• Avoid lopsided viewpoints and unbalanced information. Make sure you have intelligent, caring people on both sides of the story.
• 
  
• Remember the adage: "Show. Don’t tell." Let your well-chosen characters care enough to act in character and resolve -- or accept -- the story's problem by The End.

~~

(c) 2010, Mary Harwell Sayler 

~~

Outline Or Synopsis?

Before you write a book, prepare either an outline or a synopsis, but which and why? This can be confusing, especially since all sorts of misinformation abounds. So to understand the very real differences, let’s back up a bit and look at what the outline and synopsis are meant to do.

For both, the first purpose is to help you keep your book on track as you write. Later, the same tool helps a potential editor or literary agent get an idea of what you had in mind without having to read the whole manuscript.

Besides having those traits in common, the outline and the synopsis run about the same length – usually a couple of pages. Otherwise they’re as different as a book of fiction and a nonfiction book can be.

If you’re writing a nonfiction book, you’ll develop an outline by simply listing the main points you want to include. Once you’ve written down the points you want to remember, group them into whatever categories they have in common. Each group then needs an appropriate heading under which you’ll arrange the points in a logical order or sequence.

As you write, this outline of well-organized thoughts will remind you what’s next – sort of like using an in-depth checklist to be sure you don’t forget something you want to include. Later, when you’re ready to send a nonfiction book proposal to an editor or agent, this same outline will go with your query letter and a chapter of two of the actual manuscript.

Similarly, a synopsis guides you, first as you write your novel then later as you try to give the editor or agent an overall feeling for your story. The synopsis is not the full story, nor is it a little paragraph or “blurb” like the one you’ll find on the back of a book jacket. It does not outline points nor list anything. Instead, the synopsis tells about a main highlight in each chapter of your novel – not giving the full story but telling about it in the present tense as though your very interesting story is happening right now.

When you complete your manuscript, add a query letter, the same synopsis you just used for writing, and a chapter or two of the novel. Then presto! You now have the fiction book proposal you’ll send to an agent or editor.

Besides this standard book proposal, literary agencies and book publishing companies sometimes have additional preferences they want you to include. To find out, locate the website then follow the writers' guidelines on the Submissions page of the company you think will be the very “best fit” for your book.

~~

(c) 2010, Mary Harwell Sayler, all rights reserved.

~~

Christian Writing and Marketing

As your primary text for all types and genres of writing, read the Bible cover to cover, including footnotes and articles in reputable study editions.

Read classical works by poets and writers with whom you identify.

Study and analyze Christian classics in your favorite genre.  

Write accurately about Christianity.

Get to know unique aspects of a denomination before speaking for that part of the Body of Christ. Whether you need information from the Vatican, Southern Baptist Sunday School Board, Episcopal Church, United Methodist, Assembly of God, or other Christian denomination, you will find that most churches have an official website with foundational documents, mission statements, and tenets of faith.

Write accurately about everything. Research each topic thoroughly.

Observe people. Listen to people of all types, age groups and backgrounds.

Consider what draws readers to a particular poem, story, article, or book.

Study publications you like to read. Get familiar with church magazines, curriculum materials, "take-home papers," e-zines, books, journals, and also mainstream publications.

Consider gaps in publishing that your story, poem, article or book might fill.

Plan your work before you begin. Decide on a theme, purpose, and reading audience. Outline a nonfiction book. Write a synopsis of your novel.

Write, write, write!

Use English well. If grammar, syntax, spelling, or punctuation don’t come easily, get a dictionary, junior-high grammar book, or an editing software program. You’ll also find hotlinks to these types of Resources on this blog.

Let your writing flow without criticizing yourself. Let your work rest. Later read those pages aloud as if someone else had written them.

Read each revision aloud and really listen to you!

Identify problems. When you see or sense a problem, you’ll most likely notice a workable solution too.

Revise, revise! Correct each mistake. Make every manuscript your best work before submitting it to an editor or Christian publishing house.

Most publishers have websites to let you know what they want. Study the information and carefully follow the company’s writing guidelines before you submit your manuscript or batch of poems.

~~

(c) 2010, Mary Harwell Sayler, all rights reserved.

~~

Know your Bible! Know your Bible choices!

Choosing a Bible was not difficult when only one or two English versions had been translated from the original Hebrew, Greek, or Aramaic languages. Now, deciding which Bible you prefer can be confusing, especially since you have many choices among the word-for-word, phrase-by-phrase, and thought-by-thought translations. In addition to those options, you will also find Catholic and Protestant editions.

Specific word choices in the translations might differ, but the books in the New Testament will be the same in either Catholic or Protestant editions. However, the “Old Testament” of a Catholic Bible includes more books than you will find in the Hebrew scriptures of other Bibles, so be sure to look for an identifying phrase such as “Catholic edition” on the front cover.

Somewhere in the front pages of a Catholic study Bible, you will also find “Nihil Obstat” and “Imprimatur,” which let you know that the footnotes, study helps, and explanatory articles have been deemed free of doctrinal error by a Bishop of the Roman Catholic Church.

The English translation approved by the U. S. Conference of Catholic Bishops (USCCB) and accepted by most parishes in America is the New American Bible (NAB), available in such excellent editions as The Catholic Study Bible, the Saint Joseph Edition, or The New Catholic Answer Bible.

Another favored translation is the poetically quotable classic, the Revised Standard Version. However, every copy of RSV does not include all of the Old Testament books that a Catholic Bible has, so look for The Ignatius Bible or other Catholic edition.

For a fresh, lively translation, the New Jerusalem Bible (NJB) brings new energy (and, sometimes, different verse numbering!) to familiar Psalms, parables, and Bible stories.

If you want an easy-to-read translation with few footnotes, the Catholic edition of the Good News Bible may make you eager to read Holy Scriptures from cover to cover as you would any book or saga and, indeed, why not!

With a reader-friendly translation and church-approved footnotes, you can read, study, and soon love the Bible, then, accurately and poetically, pass on its Good News.


~~

(c) 2010, Mary Harwell Sayler. You might also want to follow the Bible Reviewer blog.

~~

On Account Of Our Words

You’ve probably heard by now that the Library of Congress recently obtained rights to preserve all of the tweets on Twitter in their digital archives. This could be embarrassing for those who speak reactively or blurt out whatever comes to mind. Even if they later regret what they said, those impulsive tweets have become part of a permanent record.

Sadly though understandably, people often say weird or crazy things when they think no one is listening, when they think no one cares, but Christians know better. We know God cares. We know God hears. We know our words can have a permanent impact with the power to hurt or heal.

In case we forget or just don’t get it, Jesus gives weight to our words in Matthew 12:36-37 when He says, “I tell you on the day of judgment people will give an account for every careless word they utter, for by your words you will be justified and by your words you will be condemned."

Heavy!

However, as Christian poets, writers, and editors, we can respond and not just react to the news, mood, and events going on around us. In the presence of the Holy Spirit, we have the presence of mind to pray and the peace of mind to listen and really hear what God says.

Taking care to hear and speak and write correctly, we can research each fact and scriptural reference in every poem or manuscript - taking care, too, to be honest, accurate, credible, and clear.

If we can find a traditional Christian publishing house or a denominational publisher to produce our work, great! The staff will add their expertise, catching mistakes we might have missed and pointing out areas we did not realize need clarifying so others will understand. If we self-publish though, we will not have an in-house team to keep our work and words accountable, but even if we must pay for it ourselves, we can ask for input from other Christians who know Christ, the church, and also human nature.

Knowing how to look up a subject in a biblical index or encyclopedia will help too, of course. Sometimes we’re sure we know a certain verse by heart, but we can look it up anyway, preferably in a variety of reputable translations, to get a clearer, broader understanding of the context and true meaning.

The more we know the Bible, the more we retain the Word of God until our minds begin to resemble the mind of Christ. This not only brings our poems and manuscripts into a deeper, spiritual level that will surely strengthen and encourage readers, but these Christ-like thoughts help us to keep our words in line, in love, in truth. So when our writing lands in the Library Of Congress archives or anywhere else, we can rejoice!

We can be glad to have our words preserved. We can be happy that others may come to believe in God on account of what we said. We and our words can bring blessings in Jesus’ name and be blessed on account of Christ.


~~

(c) 2010, Mary Harwell Sayler 

~~

The Poetic Power of Dyslexia

Most poets and writers draw on experience, talent, skill, personality, and the power of observation to find something fresh to say in their fiction, nonfiction, and poetry writing. If you do that too, great! Keep up the good work. However, the traits you think of as a disadvantage or even a handicap might be the ones that help you to develop your own voice or distinctive style. Take, for instance, dyslexia.

Like many poets and career freelance writers, I began writing as a young child but, in my case, backwards. One way or the other did not matter to me, but this stressed out my teacher so much, she made me stay after class on my very first day of school. For years I thought Mrs. Smith called Mother to come in, too, to see how sloppily I wrote as my left hand smudged the soft pencil across the lined paper in my notebook, but no. I had perfectly copied everything the teacher wrote on the blackboard (which actually was black then), and I had formed each letter of the alphabet correctly. I had just written everything on the blackboard backwards.

For fun, I still like to spell ippississiM in my head, and I must warn you not to even try to beat me at word games like Boggle or Wheel Of Fortune unless, of course, you’re also a bit dyslexic. Most of the time, though, inverting letters and scrambling words or thoughts has gotten me into trouble, especially when I’m tired. If someone happens to spew double-negatives then, I can almost guarantee my brain will not follow.

In writing poetry and poetic manuscripts, however, dyslexia can come in handy. Word scrambles often lead to word play, and scrambled thinking can connect this to that in a previously untried but true way. Such “mistakes” might add a note of humor to fiction or nonfiction too and, in some cases, bring about a fresh idea, insight, or observation.

For example, as a Christian writer I often write nonfiction articles and devotionals. In one short article I wrote for other Christian poets and writers, I talked about the importance of double-checking facts and speaking with a loving voice whenever we write in the name of Jesus. Since Christians pray in Jesus’ name, my point was to encourage that thought also as we write. However, instead of typing “in the name of Jesus,” I wrote, “in the amen of Jesus.” Same letters, you notice, just scrambled. When I finally noticed this myself, I thought, wow! That better said what I wanted to say anyway. i.e., Anything we write (or pray) in Jesus’ name needs Jesus’ amen or affirmation.

I certainly do not pray for my dyslexia to increase or for you to catch it! But I do pray that you use your talents and “flaws” well. I pray you begin to see your “mistakes” or “handicaps” or “shortcomings” or “disadvantages” as a means of making your writing distinctive, inimitable, and one of a kind. Do I hear an name?

~~

(c) 2010, Mary Harwell Sayler, all rights reserved.

~~

Bible Verses and Hebrew Poetry

Christians often refer to portions of the Holy Scriptures as “Bible verses,” suggesting poetry. That’s exactly what you’ll find throughout the creative word of God, especially in the Psalms and poetic prophets such as Isaiah.

Unlike the overly saccharine, sing-song poems often written for Christian readers today, Bible poems are honest, metaphorical, and rhythmic, but not always upbeat.

In poetic books such as Job, Lamentations, and Ecclesiastes, biblical poets wrote through their fears, doubts, worries, anger, envy, pride, and other powerful emotions. For example, Psalm 6:1 says:

O LORD, rebuke me not in your anger! Chasten me not in your wrath.

Sometime during Lent, most Christians feel the chill of Psalm 22 as the words are read from the prophetic poem Christ recited from the cross:

“My God! My God!
Why have you forsaken me?”

Keep reading, though, and you’ll see how that Psalm also provided a message of hope for those who heard those words during a terrible time.

Psalm 22 and other poems that “get real with God” provide credibility, too, as readers, then and now, discover and believe the upbeat reassurance of God’s ongoing love in the very next poem, the beloved 23rd Psalm.


~~

(c) 2010, Mary Harwell Sayler

~~

Getting Published In Your Own Sweet Time

Recently an editor returned a manuscript I’m sure needs to see print, so this did not make me happy. Since I’d already gone onto other projects, I then had to backtrack a bit to look for another potential publisher, which takes time – sometimes years! As much as I hate to admit it though, this can be for the best.

To give you an example, some children’s novels I wrote when my kids were growing up are just now getting ready for my young grandchildren. When the manuscripts didn’t place right away, I stuck them in a file cabinet and went on to write other books that were eventually accepted by traditional publishing houses. In fact, I forgot about those stories until my grade-school granddaughter asked, “Do you have any more books for me?” For her? Anything! So I got out the old file folders, and, together, we went through them.

Amazingly, she knew exactly what worked and what did not! Equally impressive, she was not afraid to tell me so. (Oh, what an ideal reader!) We agreed that one unfixable picture book text forever belongs in a file drawer, but two novels for middle-grade readers really do need to be published. Why? Young readers will welcome the stories and relate.

So, now what? My next step will be to check book titles and topics in Internet bookstores to make sure no one has already picked what I’ve chosen. I’ll look at writers’ guidelines on publishers’ websites, too, and see who’s open to this particular type of book.

If I find a book-line that’s similar to my work, that company will rank high on my list of potential publishers. If the manuscript comes back with a no, I’ll just try to keep company with the next good company on my list.

~~

(c) 2010, Mary Sayler, all rights reserved.

~~

Re-Membering The Body Of Christ

As members of a large, diverse Christian family, we’re a unique part of One Lord, One Faith, and One Baptism in the One Body of Christ. So let’s pray together and get together to do something to offset the bad press and negative comments that Christianity and the church often receive.

Let's pray to do something accurate, loving, healing, and courageous.

Let’s find out about each other and ourselves by getting to know the founding principles of each denomination, so we can understand one another better and pass on information correctly.

Let’s verify our own denominational beliefs and check out the beliefs of other churches by researching instructional documents (sometimes called the “catechism”) and mission statements that most churches provide on their websites or in prayer books, church manuals, and hymnals.

Let's put ourselves in each other's sandals with even flip-flops allowed.

When a subject interests us enough to write about it, let’s look in a Bible index to see exactly what the Bible has to say about that particular topic.

Let’s be sure we quote a text accurately and cite the source or translation.

Let’s keep the biblical text in context.

To research a topic thoroughly, let’s use a Bible dictionary or encyclopedia to find and explore related scriptures and relevant information, for example, about the times, place, culture, political scene, or general circumstances encountered by God’s people, then ask how we might relate.

Let’s encourage each other and our readers to appreciate the godly standards and Judeo-Christian values we must never take for granted.

Let's remember Christ.

Let's Re-Member The Body of Christ.


~~

(c) 2010, Mary Harwell Sayler, all rights reserved.

~~

Rejection! Rejection! What’s A Writer To Do?

Here’s the problem: Talented poets and writers often have an unrealistic view (okay, a fantasy) about the freelance writing life. They rightly know they express themselves well on paper so are apt to be shocked, angry, or hurt when an editor sends back their poems or manuscript. Some give up. Some self-publish, and some keep on and on until they find a good fit for their work in the traditional publishing markets.

To get a better idea of what it takes to be a freelance writer, focus on someone you know who works on commission sales. For example, my dad was in real estate, but everyone did not buy the houses he showed. Another family member sold life and health insurance, but everyone did not buy.

Sometimes the timing isn’t right. Sometimes buyers have unrealistic views of the value of a product or service. Sometimes nothing seems to fit, which is how freelancing can also be. Maybe the editor has too much on her mind. Maybe the publisher needs to cut back his product line. Maybe they have recently published something much too similar to your topic or idea.

No matter how you look at it though, the word “rejection” carries some heavy-duty connotations of being unaccepted and, therefore, unacceptable. In this respect, the word is a misnomer because your work may be just fine -- even wonderfully well-written. Your work may be very acceptable to your intended readers, too, but just not to the particular publisher you happened to pick. And, therein lies the probability of rejection.

At least in the beginning, poets and writers seem prone to reject editorial suggestions and writers guidelines provided by most publishing houses. Some think that only their work alone is “special,” so the “rules” do not apply to them or their brilliant idea. Other poets or writers seem to reject the genuine needs, interests, or values of their readers.

This type of mistake (okay, self-centeredness) happens to most of us at first because we’re new to freelancing and still trying to hear our own voice. Maybe we don’t have a clear picture of the publishing industry or don’t realize editors are real people with fairly basic editorial needs. We might not get how crucial it is to identify with our readers, especially if we expect them to identify back and connect with our poems or manuscripts.

When we stop rejecting honest input from our readers and/ or our editor/ publishers and attune ourselves to them -- not as we write but as we revise -- we will still get “rejection” letters. That’s a fact for most of us, but the difference now is that we know our work is worthy, and so are we. If we see our potential readers and editors as worthy too, they will be more likely to accept our poems and writings as something also worthy of their time.

~~

(c) 2010, Mary Harwell Sayler

~~

Writer’s Block In A Box

If you’re staring at your keyboard and would rather wipe than type, this might be a sign of writer’s block. Will it last forever? No. Is there anything you can do about it? Sure.

It’s like being boxed between cars in a parallel parking space. Tight, but you still have choices. So what do you do? You can wait until the owner of the other car comes along to free you. Or you can inch your vehicle by increments until you wiggle free.

Trying to think of something new to do sounds like an experiment in frustration when your thoughts already seem blah and fuzzy or singularly uninspired, but don't fret. Just remember: Wiggle.

Do something different. If you can’t go anywhere, stand on a chair or stretch out on the floor, but get a fresh perspective. Look up and notice the texture of the ceiling. Look down and describe your feet. Look around and notice the sound, smell, sight, taste, or feel of objects you’re around every day. Sip soup slowly and identify the flavors or compare. Listen to the hum of the heater then fill in words to fit that beat.

Getting away from your normal surroundings can help you to get out of the box sooner, which is why even a mini-vacation depends on vacating your home. So use writer’s block as your impetus for visiting that museum in town you keep forgetting. Or go to a movie with sub-titles. Check out a library book of poems totally unlike anything you usually read or write. Check out DVDs, too. For instance, look for a video of that country you hope to visit or, better yet, one you would never dare to set a foot inside. Pick up a travel magazine, and look at photographs of other places.

Get the picture? Writer’s block is a box that every poet or writer steps into occasionally, but you don’t have to stay there. Even if you’re really boxed in, you have choices. Jump out. Take a nap. Find a different view.


[If you need objective feedback on your work, you might find what you're looking for on The Poetry Editor website - http://www.thepoetryeditor.com .]

Traditional Publishing for Christian Poets & Writers

If you're drawn to writing poetry, fiction, nonfiction, or books, stories, and poems for children, you'll eventually want your work to be published, but how do you go about this? Here are some tips with Christian poets and writers especially in mind:


• Notice the names of traditional publishers whose work you enjoy reading.

• Do these publishers have a website? If so, study the titles in their book lines and the poems or magazine articles in their archives.

• List publishers whose books or publications seem similar yours.

• Study and follow the writers' guidelines on each company's website.

• Send a book proposal, article or batch of 3-5 poems to 1 editor at a time.

• Keep track of where and when you sent your work.

• If you have no response in 2 to 3 months, follow-up.

• While you wait to hear about one manuscript, begin another.

• If an editor returns your work, read the manuscript or poems aloud.

• Listen for rough spots. Revise as needed, then submit your revision to the next publisher on your list.

In addition to those tips, check the website for your denomination.

Study the Mission Statement of your church.

Study church-produced publications such as Bible studies, church curriculum, devotional guides, and children’s take-home papers.

Write the appropriate editor to express your interest in writing those materials.


~~

(c) 2010, Mary Sayler, all rights reserved.

~~