5 tips to writing books for children (With words by published children's author, Carol Baker!)

It isn't as easy as A B C. Writing for children is a lot more challenging then a lot of people would expect.

Children demand engaging, thought provoking and linguistically interesting books that capture their hearts and light up their imagination. As a writer is it difficult to know when your story is too simple or too complicated for your chosen age range, or even if your writing will appeal to your target age range.

I spoke to Carol Baker, a teacher with a passion for English Grammar who recently commissioned me to illustrate her own children's book; Armored Armadillo to Zippy Zebra – An alliterative anthology of animals

With Carol’s professional advice, I have compiled these 5 most important tips to writing for children.

Don’t preach or lecture

It’s tempting to put wholesome, life lessons into your book, especially if your story has a moral that is revealed at the end. But children know when they are being taught a lesson; and it’s too much like school. They spend much of their day being told what to do and taught how to behave, so young readers will shy away from books like this.

Try and avoid writing your ‘moral’ at the end of the story in an obvious way, and instead use the character and the story to show how the person has learned and changed. For example a book about a boy who never shares his toys may end with the boy learning to share, but instead of writing this as the boy’s Mum telling him, ‘Sharing is kind and the right thing to do, so you should always share,’ how about the boy finds out for himself that sharing makes him more popular and he prefers the friendships he makes more than his toys, leaving them discarded at the end of the book as he runs off to play with his friends?

Books that have good lessons hidden below the surface are much more likely to be fun to read, and children are smart enough to learn that this behaviour can benefit them too. When you find yourself preaching, ask yourself; how can I imply this without saying it outright?

Carol’s career as a teacher prepared her for this.

My passion has always been English grammar, and I particularly enjoyed teaching fairy tales and folk tales to children.  Valuable life lessons and English grammar structures can be learned from these simple stories which many of my ESL (English as a Second Language) students grasped unknowingly as they began reading.  A good teacher can make learning enjoyable.

Although “Armored Armadillo to Zippy Zebra, An Alliterative Anthology of Animals” can be read for pure enjoyment, many parents and teachers will appreciate the ways they can apply the book as a teaching tool. 

Write from a child’s point of view

A great practice session for this is to listen in on children having a conversation without adults. How do they ask questions? How do they put their sentences together? Children have a unique way of interacting with the world around them, and they will find it difficult to read a book that is written in an adult environment. 

A child will not only understand your story better, but they will also relate to your characters much more if they talk like them and think like them. Here’s a great example.

An adult might say; ‘Where does the sun go after sunset?’

A child might say; ‘Where does the sun sleep at night?’

If you are writing what you think a child should hear – stop right there. Go back and write as if you are immersed in the world of that child. Tables and chairs tower over your head, adults eat strange things and you can’t understand why pouring mud onto the living room carpet is so bad.

Don’t treat your readers like little kids

'But they ARE little kids!' I hear you exclaim.

Think about it. What child likes being told they’re too little and inexperienced? Young children love to think they’re all grown up. When they are reading (or being read to) they want to feel like they are powerful, respected and that the person telling the story understands them.

Children are a lot more intelligent and perceptive then most adults give them credit for. It’s a fine balance between giving them the opportunity to piece a story together themselves, working out something that they might not understand at first, and still keeping it simple enough that they can still follow the plot without getting frustrated and abandoning it. Carol Baker does this by providing some easy to pronounce, well-known words with new, more difficult ones that children can learn.

I knew I was going to choose an animal for each letter of the alphabet as the basis of my book, but it took me two years to decide what vehicle to use for showcasing these animals.  Should I make it funny or factual?  Should I make it rhyming?  What age readers should I target?  When I decided to give each animal an alliterative adjective, I saw alliteration as my vehicle.

Kid’s LOVE silly humour

While illustrating for Carol Baker, I slipped a pair of underpants into an illustration. Carol wasn’t keen on the idea and removed them to the dismay of her Granddaughter. After seeing her young test audience giggle so much when they saw the clothing, Carol decided to put the underpants back in.

It’s not just underpants. Snot, poop, bogies – if it’s gross and inappropriate, young kids will love it! Adults on the other hand, will have no idea what is so funny about it.

Don’t be scared to throw in a few rude situations in both your writing and the accompanying illustrations. If you’re unsure, test them out on a willing young subject and see if they laugh. You’ll be surprised!

Say more with fewer words

Children’s books typically have fewer words to play with; so don’t waste them. Make every word count by eliminating any words that aren’t essential to the story and use outstanding, interesting words that add to the atmosphere you are trying to create.

Carol Baker does this perfectly in her book. Without going over ten words per page, every single word she uses gives something to the reader so that the sound they make when spoken are pleasant to hear and conjure up the exact image that is needed to understand the meaning.

Tell the reader the important bits, and use the illustrations to show them the rest.

 Carol's inspiration for her book came in a dream one night and a few years later she's selling copies of her book on Amazon and Barnes & Noble as well as at local bookstores and events. 

My book showcases entertaining and educational alliterative descriptions of real animals with beautifully detailed and colorful illustrations which include an “I Spy” feature that can be enjoyed by both children and adults.

I’m very pleased with this project!  I have a brilliant illustrator, and I am proud of my alliterative descriptions.

You can your copy of Armored Armadillo to Zippy Zebra – An alliterative anthology of animals here; www.amazon.com

If you’re interested in getting a quote for illustrations for your book, you can email me to find out more! izzybean@izzybean.co.uk

Releasing a children's book for Christmas - are you prepared?

Ho ho ho - it's almost time for Santa to come and visit! 

And what does Santa bring to good little boys and girls? Books of course!

But when should you start marketing your Christmas themed books? Should you say 'holidays' instead of Christmas? And should your book have a festive 'message'?

Don't worry if you're asking all these questions and more; they are all relevant if you want to be a successful Christmas author. I recently teamed up with author Adam Reed to create a magical, festive themed book to rival the popular 'Elf on a Shelf' series, and he kindly took some time to give us some advice on this blog.

Adam was originally looking to start a holiday tradition with his family and only came across one option - an elf. As he looked at it and dug into the story he was taken aback by how creepy it looked, how intimidating the story was to children, and how stressful the “tradition” came to be for parents.  

With that, he struck out to create a fresh, new Christmas tradition not only for his family, but for children and families all over the world.  In doing so he vowed to take all the negatives of the elf, and turn them into positives, creating a magical story, an adorable plush, and a holiday brand that would bring a new meaning to family traditions at Christmastime for years to come.  He hopes that with REINDEER IN HERE he has done just that.

So let's start with the writing.

Writing a Christmas tale is much, much different than writing at any other time of year. The competition is already high - with some popular and classic Christmas stories dominating the market. How can you make YOUR Santa stand out from the thousands that already exist? Why would a parent choose to buy YOUR book instead of the ones that everybody already know and love?

One tip is to make sure you're original. Instead of the over-done story about Santa and the night before Christmas, why not think of a unique twist to place over the top? Perhaps Santa rides a skateboard instead of a sleigh. Perhaps Santa is female. Adam gave his story a twist by creating a whole new world of imaginary characters and traditions revolving around a brave little reindeer who saves Santa's day! And popular classics like 'The Grinch Who Stole Christmas' apply this rule to their stories too. It's what makes them sell out each year.

Another tip is to include all those Christmassy feelings that you associate with that special time of year, without being too obvious and cheesy. It's easy to fall into the trap of writing about being good for Santa, or hearing bells jingling or even seeing snow fall, but most kids hear this in every Christmas book, TV show and song already. Try thinking about what makes you feel festive instead. Maybe it's the smell of hot mulled wine, or having to wear knitted mittens. Write about the tastes, smells and sounds of Christmas that you often overlook or take for granted and you're sure to create a vibe that excited children can't resist. 

Christmas words are, of course, going to be in your book, but some authors struggle in their attempt to make their book appeal to everyone. It's important not to alienate children but at the same time you have to be true to what you are writing about. Have a think about exactly who is going to buy your book and let that be the decider on your language. If you're writing a religious book about the importance of traditional Christmas values and Jesus's role at that time of year, then your audience will be different to a book that is writing about elves and presents. You can't market it to every single child in the world, because they aren't all the same, but you can use language and illustrations to make your book diverse and relevant. If your book isn't a traditional Christmas book, then you can still create that festive feeling in your illustrations instead. Adam's book uses a bit of both to really capture the magic of December.

"If you look at the illustrations, we really tried to make Christmas unique and magical on every level. While there are traditional Christmas colors, there are a lot of very bright unexpected colors. I wanted the North Pole to be magical, I wanted the illustrations to pop off the page and I think we accomplished that.  Early copies of the book have been reviewed extremely positive, and children seem to be reacting to the bright colors, and magical feel of the entire story and visuals.  It was a very deliberate decision to design it that way."

So you've written your story and you're sure it's a winner! Now it's time to cash in on the crazy Christmas sales. Here is my biggest piece of advice I can give you;

PLAN YOUR CHRISTMAS BOOK DURING THE SUMMER

It seems strange to be thinking about Christmas when it's sunny outside, but please don't underestimate this advice. As an illustrator I am inundated with requests to illustrate Christmas books during October and November and unfortunately I have to turn most away by explaining that they're just too late. Aside from the illustrations taking many months to complete, editing, formatting and publishing will eat away at your deadline so the sooner you can start the better. Adam knows this all too well. He says;

"The whole process was stressful and the launch is also stressful because its been two years of work to get here. Add to that that my wife just gave birth to our second child, and was on bed rest for weeks…it was the perfect storm of madness.  But I also know my personality, and I thrive under pressure and stress, it just motivates me even more to succeed one way or another.  

Ideally I wanted to do it in early November as I feel that most people start planning for Christmas in early November, but it was a very layered process to get the book written, illustrated, and edited — and then an even more intense process to find a packager, a plush maker, design both the plush and the packaging, then put them all together and get them to amazon in time for the holidays. It was almost an impossible task but I pulled it off."

So plan well ahead and expect your book to take longer than you thought. After all, it's better to be early than late when it comes to Christmas sales! Most parent start their Christmas shopping in November, but some start as early as September - so that means you should aim to have your book finished and ready for sale at the end of August! Try to make the most of sales and start pitching as soon as the cold nights start setting in. When you are advertising your book, remember that while kids may be your target readers - it's the parents who will be buying. Try to aim your advertisements at parents and families buying your books as gifts for children. 

Writing and marketing are huge tasks, but here are some other points you should be thinking about too;

The book's message.

Just because it's Christmas doesn't mean you can't apply all the usual rules of writing a story for children. Are you teaching a life lesson or just having a fun story with a twist at the end? there should definitely be a reason for your character's actions - just like any other time of year. Avoid pages that don't progress the story and make sure your plot is full of action and events to keep your reader's interested.

Illustrations.

What kind of illustrations are you looking for? They play a big role in picture books and you want to make sure they're clean, professional and appealing to kids. If you're looking for Christmas illustrations, make sure your illustrator has had experience drawing snowflakes or Christmas trees.

Research.

Do your homework! If you're writing about Reindeer like Adam did, make sure you know what shape their hoofs make in the snow or what their diet is. Including facts will make your story more believable and children will pick up on mistakes - so don't wing it!

Thankyou for reading, I hope this blog helped you write a Christmas tale that will be loved year after year after year! If you're looking for an illustrator for your Christmas tale, you can email me at izzybean@izzybean.co.uk and I'd be happy to discuss your project.

You can buy Adam's book as a beautiful box set that includes a Reindeer plush toy here; http://reindeerinhere.com/available-black-friday/

You can also find more about Adam's campaign - ShelfTheElf on his website here; http://reindeerinhere.com

Merry Christmas!

WORDS AND PICTURES - How to balance text and illustrations in an illustrated book.

When writing your children's book, you probably took a lot of time with your words; writing, reading them and then re-writing until you had crafted those words into a sentences, sentences into paragraphs and those paragraphs into a beautiful story that you can't wait to share with the world.

Then, like so many other authors, you let someone else handle the rest and they 'plop' the words onto the middle of a page in Times New Roman. Sigh.

I've worked as a full time illustrator for over seven years and one thing I have learnt is that exactly where and how you plop the words in a book makes a huge difference. The typography and placement is just as important as the illustrations. The two should come together and create a visually appealing page that reads naturally instead of clashing.

Here's some of my own DOS AND DONTS for making the most of your text. You can use these yourself, or pass them along to your illustrator or designer who can try them out for you. I'm always interested in hearing your thoughts too, so if you've got some ideas that I haven't mentioned, please feel free to comment below!

DO match your font to the story.

Try and pair your font with the nature of your book. For example; a story about a Princess who chews bubblegum might be light and rounded, but a book which involves monsters and dark forests may suit a spindly, spider-like text.

You can try more than one font and even mix them up as you go along, having different fonts for different actions or characters. Just be sure that whatever you choose, it is ALWAYS legible.

Here are some great websites for sourcing fonts - and some of them are free!

www.dafont.com
www.1001fonts.com
www.fontsquirrel.com

DON'T plonk your font down anywhere and leave it there.

You must think about the placement of your text. It's a long process that will involve lots of edits and tweaking until you get it right, but a good designer will never get annoyed with trying out different placements. When you think you've got it right - try another placement just in case!

Is your text on the same page as an illustration? 
Which one do you want to see first - the words or the picture? 
Does the text get lost in the colours? 
It is in the same place every page? 

One thing is certain - you must be aware of bleed and trim. The text should never be too close the edge of a page. 

DO test with other people to see if they can read it.

This seems obvious, but it's hard to test your own book properly when you already know what it says. Ask friends, family and other writers to read it out in front of you. Do they read it in the correct order? Do they stumble on words or struggle to find the next sentence? As beautiful and your layout might look, if it isn't easy to read by your target audience you may as well bin it now.

DON'T be boring.

Black, Times New Roman in a white box... yawn! 

What about red text? Text with a pattern? Text with a texture? Now there's an idea. How about text that curves around the illustration it is describing? If your text is being shouted, why not place it inside a huge illustration of a mouth? Get creative and try different things - if it looks good and can be read easily then make it work WITH the illustration instead of leaving them to battle for space. I'm not saying you can't keep a neat, monochrome theme if that suits your book; just don't automatically default to it without at least thinking about your options. 

DO your research.

Look at as many popular children's books as you can, and see if you can find common themes they all have. Assess their typography, the size of the font, where they place it... these bestsellers must be onto something.

Don't be afraid to try some of their ideas yourself - use them for inspiration! (Just be careful not to plagiarise anyones work, of course.)

DON'T have too much text on a page.

This is a common error that new writers make. 500-800 words is the recommended average for a 32 page children's book and it's like that for a reason - it leaves just the amount of text on each page.  Filling a page with text leaves no room for illustration and makes it feel cramped. If you need to say more, consider moving text to an adjacent page or cutting out a less important sentence. It's tough to cut your story short, but it will benefit the book in the end.

DO have pages without any text at all.

Some clients are horrified when I suggest this. No text on page 13? But what will they do?! What will they read?! 

This is a great opportunity to break your book up and make your audience pay attention as long as you use it in the right place. (You may not have a right place for it in your book, and that's OK too!)

The best tip here is to use it as a build up or passage of time and let the illustrations to do the talking for you. A story about someone digging a hole to the other side of the world may leave three pages of nothing but illustrations of the character digging... getting lower and lower until they disappear entirely... The next page that includes text should then have a big action or reveal as the climax;

...SUPRISE! He's now in China!

This is where your illustrator's talents come in handy. When there is no text on a page, you need to give the reader plenty to look at. Hidden items, background characters and lots of detail will make this trick work.

DO create your own font

While I appreciate this is not something everyone is able to do, it may be something your illustrator could do for an extra fee. Creating your own font has many benefits; If you can't find one that looks right you can create one to fit perfectly. No other books will have the same font which makes yours unique. Not using easily recognised or default fonts means some readers (and publishers) will take you more seriously and know you have put the extra work in. 

Finally, here is a list of words and what they mean. They aren't 'Dos and Don'ts' - but they will certainly help you discuss what you need with your illustrator and be able to understand what they are saying to you! I hope you enjoyed reading my tips and tricks to making words work for you. Now get writing that next bestseller - and good luck!

SERIF - Fonts that have little details or accents to make the words easier to read. "This is an example of Serif"

SANS-SERIF - Font's that don't have the little details or accents. On computer monitors we are restricted to dots per inch and so the details and accents are not as easy to scale down or read.  "This is an example of Sans-Serif"

TYPOGRAPHY - The way type is arranged to achieve the desired effect

TYPEFACE - A kind of type. For example; Times New Roman

LINE SPACE (SINGLE, DOUBLE, ETC) - The amount of space between the lines of text

Author Interview - GRANDMA PAINT POT talks about her process, inspiration and hurdles!

Author Interview

Grandma Paint Pot

Grandma Paint Pot (named so by her Grandchildren) was born and raised in South Wales, but now resides in Cornwall which gives her the inspiration for her book series - 'The Sea Creatures'.

A keen writer, poet and outdoor walker; Grandma Paint Pot is a nature lover and this shows in her beautiful writing which features an array of adorable characters from a Selfish Shellfish to a Starfish with a missing leg! 

Thankyou for taking the time to talk to us, can you start by telling us more about yourself?

I’m a mother of three and a grandmother to four lovely grandchildren. I was born and raised in the Rhondda Valley, South Wales. Now, I live in Cornwall, in a caravan. I love to spend time out of doors walking the coastal path and feeling close to nature. I have two Border Terriers - Charles Dickens and Oscar Wilde - and in June will be having a Springer Spaniel puppy. She will be called Lizzie Lou after the heroine in the novel I am currently writing. I have a BA (hons) in Literature and an MA in Professional Writing.

Great names! How did you start writing for children?

I’ve written poetry since the age of thirteen or fourteen. When my children were quite young I started rewriting nursery rhymes such as: What was Humpty doing, sitting on the wall, he shouldn’t have been up there, it was obvious he’d fall... My children attended the Welsh school and had several cousins around the same age. I wrote my first children’s story for them. It was handwritten into a blue scrapbook in the Welsh Language and every character in the story was named after the children. I drew all the illustrations. I have since translated it into English and changed the names accordingly to suit newer, younger family members. I might use elements of it in a future publication.

Do you have a process you follow when writing?

Usually, a germ of an idea might take hold and I play around with it in my head for some time. With my publication The Selfish Shellfish, I was playing around with this title for a poem, focusing on the tongue twisting alliteration. I then thought I could make up some other sea creature characters. When I had several characters the idea grew into something bigger. In my head, each character had a voice.

            I don’t commit anything to paper until I’ve thought out the entire story. Then I write it up, and after that I type it on the computer. More often than not the word count is far too much and that’s when I begin to edit it down and structure it.

What or who gives you inspiration?

Nature is the most inspirational thing there is. I can look at the sea, a river, flowers, trees, the earth, the sky and never fail to be moved. I love watching the birds and animals and life in general. The world seems so simple and straight forward and breathtaking and mysterious. It is lifetime of study.

I admire so many writers but, in my eyes, Julia Donaldson is a children’s writing phenomenon. She creates beautiful characters, beautiful stories, empathetic scenarios and puts them together in verse.

Did you encounter any problems when releasing your books?

As a self-publishing author (as with any author, I suppose) I have to create interest in my book via social media. This is something that causes me a few problems. How to connect with the right people? How to reach people other than friends and family? How to pitch your posts and blog in such a way that will engage and draw interest without coming across as pushy, boring and completely self-indulgent?  

What was the BEST part of releasing your book?

The best part about releasing my books was (firstly) holding a physical copy and then seeing copies on the shelf in bookstores. It gives a wonderful sense of achievement. Also, it’s an amazing feeling when people come up to me and say: my child loves your book. When asked what book they want at bedtime they always want to read The Selfish Shellfish.

...and the worst?

The worst part is facing rejection from some booksellers. It’s tough to take when someone says they don’t want to stock your book - for whatever reason. Some places will order my book for a customer if they ask for it specifically but the chances of that happening is unlikely. As a new, independent author my book needs to be on display to stand any sort of chance in such a saturated market.

It sounds like you love doing what you do! 

What were your favourite books when you were a child?

I grew up in the world of Enid Blyton. I loved everything from Noddy and Big Ears, The Famous Five to Mr Meddles Muddles and Brer Rabbit. But, if I had to pick one book from my childhood, it would be Joanna Spyri’s Heidi. I always wanted to live on top of a mountain, sleep in a bed of straw, eat fresh bread and cheese and run wild all day. It was my kind of heaven.

Do you have a favourite place to write?

I love going somewhere to write rather than staying at home. Often, I write in The Falmouth Hotel. I order a pot of coffee, sit in the window overlooking Castle Beach and write the morning away. This is one of the reasons I set The Selfish Shellfish on Castle Beach and some wonderful illustrations of the Hotel feature in the book.

            I also like to write in cafes or libraries or anywhere I’m not distracted by thoughts of chores I should be attending to.

Finally... 'The big debate'; physical books or eBooks - which do you prefer?

I much prefer a physical book. I buy ebooks for convenience. They make ideal traveling companions and, as I live in a caravan, they don’t clutter up my cubby holes. My books are also available as ebooks for these very same reasons, and because I want to cater for the ebook market. But physical books are special. They are personal and intimate. In my opinion, a person - young or not so young - is more likely to flick back through the pages of a physical book time and time again to enjoy the feel and colour of the book and to linger over the words, and each time the book is revisited they will see and understand something different and gain a bigger picture. 

Thanks for sharing with us Grandma Paint Pot!

Grandma Paint Pot is currently launching her latest book; Stanley Penwellington and the Exploding Seagulls

Until then, you can check out her books below!

The Selfish Shellfish (ISBN 9781781322147) is £7.99 

The Selfish Shellfish ebook (ISBN 9781781322154) is £5.99

Leonard Limpet Lost at Sea (ISBN 9780993090707) is £7.99

Leonard Limpet Lost at Sea ebook (ISBN 9780993090714) is £5.99

Buy from...

GrandmaPaintPot.com

Amazon

Or on sale locally in Falmouth at;

Falmouth Bookseller

The Falmouth Hotel

The Maritime Museum

Cornish Maid, Mawnan Smith

Meudon Hotel, Mawnan Smith

The Kingsley Village

Seawitch Stores, Mousehole

The End of the Earth, Hayle

Visit Grandma Paint Pot and find out more!

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