Elements of a Children's Story

Elements of a Children’s Story

Theme

A theme is an insight or viewpoint or concept that a story conveys. If someone  says your story is “slight,” this may mean you have no significant theme.

Don’t blurt out your theme. Let it emerge from the story. If you must come out and say it, do it in dialogue, not narration.

Avoid preaching. Children’s stories should be explorations of life—not Sunday school lessons.

Keep your theme positive. If writing about a social problem, offer constructive ways for your readers to deal with it.

Plot

Plot is normally built around a conflict involving the main character—for instance, with another character, or with circumstances, or within him- or herself. A story may succeed without conflict—especially if for preschoolers—but not without another device to hold attention.

Conflict often takes the form of a problem the main character must resolve. The character should succeed or fail at least in part through his or her own efforts. Most often—especially in realistic fiction—the character learns or grows in the process. The lesson or growth conveys the theme.

The conflict should result in increasing dramatic tension, which peaks or “climaxes” towards the end, then resolves.

The basic sequence of plot stages is: arrival of conflict, initial success of the main character, reversals, final victory, and outcome. The success-reversal sequence may repeat.

A novel may have several conflicts, but a short story or picture book should have only one.

Move the plot forward with events and action, rather than with internal musings. Show, don’t tell.

Story Structure

At the beginning, jump right into the action. At the end, bring the story to a prompt close.

Keep the structure as simple as possible. In a picture book, keep the action in chronological order without “flashbacks” (can be confusing).

For a picture book story, make sure you have enough “scenes” (locations) to provide variety in the illustrations. For a magazine story, on the other hand, don’t have too many, as space limits the number that can be illustrated. The number of scenes determines whether a story is best suited to a picture book or a magazine.

Point of View

For your narration, make the best choice for your story between “first person” and “third person.” In first person, the story is told by one of its characters—“I did this.” In third person, it’s told as if by an outside observer—“They did that.” First person is popular with middle-grade and young-adult readers as it creates instant intimacy and can convey lively wit and emotion. But it can confuse younger listeners, so it should seldom be used in early picture books. Third person is fine for any age, and permits the writer more sophisticated language and observations.

Whether in first or third person, the story should generally be told through the eyes of a single character—usually the main character.  Sudden shifts in the story’s point of view can jolt and disorient the reader. To keep it consistent, narrate only what your chosen character would know and nothing he or she wouldn’t—for example, other people’s thoughts, or something out of sight. If you do need to switch to a different point of view, set up a separate section or chapter for it.

Characters

Before you start writing, know your characters thoroughly.

Your main character should be someone the reader can identify and/or sympathize with. He or she should be near the top age of your intended readers. (One exception is in folktales.)

Identify your characters with one or more telling details—a physical trait, a mannerism, a favorite phrase. A complete description is not needed.

Setting

Set your story in a place and time that will be interesting or familiar.

Style and Tone

Write simply and directly, in short words, short sentences, short paragraphs.

Use dialog wherever possible. Use direct quotes instead of indirect. (Example: “Go away!” instead of “He told her to go away.”) Aim to make dialog at least one-third of your story.

Avoid big chunks of narration—especially description. Often you can split it into smaller pieces, or convey information in dialog. (Example: “I like your purple hair.”)

Use language that creates an atmosphere or “tone” suited to your story.

For younger children, use poetic devices like rhythm, repetition, alliteration (“Peter Piper picked a peck”), and rhyme—though generally not in verse.

Avoid being cutesy or sweet or sentimental or condescending.

Children's Stories

How to Write Children’s Stories

1. Brainstorm Story Ideas – The story is perhaps the most important part of a children’s book.  Choose a story that matches your interests and talents.

2. Develop your characters – In order to have a good story, you need to have some interesting characters.  Who is the main character of the story? Is there more than one?  Are the characters human, animal or fantasy, or some of all three? Before you begin, it is best to make an outline of the characters and how they fit into the story.

3. Make a story outline - Use note cards, draw it in picture form, or write a standard outline. The important thing is to have a general understanding of the beginning, middle and end of the story, and of how the characters will interact and evolve. A good story usually has some sort of conflict or obstacle that the main character has to resolve, after which everyone lives "happily ever after". Here's the breakdown:

1. Introduce your characters with descriptions of physical and personality traits, their surroundings, and those with whom they come in contact.
2. Create a problem/conflict. This could be between two people, an internal conflict, or one in which the main character overcomes an obstacle in the outside world.
3. Write the climax of the story, which will include the main character(s) coming face to face with the conflict.
4. Show how your character(s) resolves the problem, and what happens next.

4. Add some pictures - Everyone loves pictures. They can add to the interest level of the story and make it easier to follow. You may like to include a few funny cartoons or pictures in your story. Make sure that you use bright happy colors or sad dark colors depending on the mood of a story

5. A children’s story doesn’t have to be realistic!  That is the difference between children's and adult books (with exceptions like the Lord of the ring, etc). Of course you can write about a talking mongoose. Sure you can write about a human with a dogs head and 3 legs. Children can enjoy it, but adults can't very often just let the story sink over them.

THE 5 MOST COMMON MISTAKES MADE BY NEW WRITERS:

• Poorly conceived Talking Animals. Editors are sick of Sammy Squirrel and Max Mosquito. The same goes for Claude the Cloud, Billy the Button or any other inanimate object. Talking animals aren't completely taboo, it's just that most writers don't do them very well. What's important is that your animals have completely developed, unique personalities and characteristics. You need to develop these characters just as carefully as if you were creating human characters. And give your readers some surprises. For example, a rabbit might not be cute and cuddly; he may be absentminded, selfish, or cunning. "Charlotte's Web" by E.B. White (a middle grade novel) is an excellent course on how to create unique animals characters.
• Single-spaced Manuscripts. Manuscripts should be typed, double-spaced, and sent with a brief (less than one page) cover letter. No exceptions.
• Treating Kids Like Babies. Don't talk down to your readers. Use rich and interesting language that evokes strong visual images, not baby talk.
• Preaching. Your job as a writer: entertain. If your story has a message, tell it through the plot and characters, not by a "moral" attached to the end.
• Weak Beginnings. Grab the reader in the first two paragraphs or you're doomed. Begin fiction with an action scene, nonfiction with an event or interesting facts. Don't start your book with Chapter 2, wasting the first chapter with character description and background, setting, time period, etc.

http://www.right-writing.com/in.html

Basic Writing Tips for Children's Writers

By Jill Esbaum

Here are some of the most important points to keep in mind if you want to write for kids:
* Every story must have a central character with a problem that he solves himself. Having a wise parent (or other elder) step in to help is a no-no. Period.
* Begin your story on the day that is different - when life, as your character knows it, is about to change.
* Stick with one viewpoint. For beginning writers, viewpoint can be a tricky beast. Just remember that your story is unfolding through one person's eyes, feelings, thoughts. The third person omniscient voice doesn't work well for kids unless you are a really really talented writer (and if you were, you wouldn't be reading this). :) If your novel is begging to be told from more than one viewpoint, switch at chapter breaks.
* Don't get lost. If you get off track and your storyline is wandering, boil your theme down to a one-sentence summary. Keep it taped to your computer and refer back to it often. Theme is what you're trying to say. Plot is how you choose to say it.
* Show, don't tell. Think of your story as a series of scenes, each of which should reveal character or move the story forward. A scene should come alive for your reader, make her feel as if she's there.
* Develop an ear for "real" dialogue. Don't have your characters talk in stiff, perfect sentences. Real people often speak in fragments and interrupt each other. And keep in mind that what characters do often reveals more than (or even contradicts) what they say. Become a student of body language, then use it in your dialogue tags.
* Use strong, active verbs. Find exactly the right verb to convey your meaning, and you won't need many adverbs. Try writing poetry to hone this skill.
* Be unique. Avoid cliches. Strive for original similes/metaphors, not the first one that pops into your head.
* Be descriptive - but don't get carried away. A few words or lines of description can certainly help set the scene for your reader, but a little goes a long way. Keep things moving. When in doubt, simplify.
* Don't talk down to kids. Resist the urge to preach (even in religious stories). You needn't hit kids over the head with a message. They'll get the point - and appreciate your respect for them - if you're more subtle. However...
* Your main character has to learn or grow or come to some new understanding by the end of the story. Otherwise, what's the point?
* Revision is our friend. When you read a story, it's easy to believe that the author just sat down and wrote it the way you see it. Not true. Stories and books are revised again and again (and again). When I get discouraged (in the midst of my 53rd revision), I look at the Phyllis Whitney quote on my bulletin board: "Good stories are not written. They are rewritten." Learn to look at your own writing with an objective eye. When you think a piece is finished, put it away for a while. When you come back to it weeks later, I guarantee you'll find ways to improve it.
* Read. Immerse yourself in reading and language. Make it a part of who you are. Read children's poetry, novels, nonfiction, picture books, or whatever it is you are interested in writing yourself. Read for pleasure, to learn, and to absorb a feel for language. Then put it to work and practice, practice, practice. 
* Never give up.

Hope you're spending this snow day... being creative!

Short Stories

Writing a Short Story

Construct the Plot

1. GET AN IDEA for your story –

It is difficult to write convincingly about things you don’t know first hand; therefore, draw upon real experiences as much as possible. Try to think of an unusual, humourous or unforgettable event.  Perhaps you can set your story in an interesting place you’ve actually visited – or set your story around a scene you’ve witnessed.

2. Identify the main CONFLICT on which your story will be based. 

3. Decide what COMPLICATIONS you will use to add to the intensity of the conflict.  What unexpected events will interfere with the plans of your character?  What occurrences will increase the reader’s involvement in the character’s problem?  How can you create suspense?  Make sure the complications you add are believable.

4. Decide on the CLIMAX.  The reader should be anxious to know how the problem will be resolved.  Remember that the climax comes very near the end of the story.  The conclusion which follows should be brief; you will ruin the story if you drag out the ending.

Create the Characters

Your characters should be convincing and lifelike.  A character should be revealed in a variety of ways.  Do not simply describe him/her to the reader.  Let him reveal himself by what he says, does, thinks.  Or let the character be developed by the attitude of others toward him, shown by their actions and their conversation.  SHOW, don’t tell. 

Beginning the Story

Whatever way you begin your story, you must capture the reader’s interest. 

Begin with :

-         a conversation between two characters with some indication of the setting

-         a description of the main character – emphasizing the key trait that will be seen in the story.

-         Describe an interesting feature of the setting.

Remember that the mood/atmosphere should be established in the beginning.

Choose a point of View

Do you want a character in the story to tell the events (first person p.o.v)?

Do you want a 3^rd person omniscient (all knowing) narrator – who can see into the minds of the characters and describe several characters’ emotions and thoughts?

Revising

1. Is the beginning effective?  Does it harmonize with the general tone of the story?  Will it arouse interest in the reader?
2. Is the conflict sharp enough to be interesting?  Is the complication plausible?
3. Does the action leading up to the climax create genuine suspense?
4. Have you made good use of contrast in your characters?
5. Is the story unnecessarily drawn out after the climax?
6. Is there enough dialogue, or could you heighten interest by making your characters talk more?  Does your dialogue help define the character and advance the plot?
7. Have you used effective synonyms for SAID?
8. Have you employed figurative language for description where it would be effective?
9. Is your title suggestive? Is it brief?  Does it reveal too much?

Happy Writing!

Developing a "real character"

Short Story Writing

Quantity Assignment #1 Due: ONE WEEK FROM TODAY!

Description Prose

Description

Descriptive writing answers the question, “What is it like?” Description underlies all effective writing and is, inevitably, embedded in most other types of writing.  Through description the writer helps the reader to better understand the object, the process, place or event about which they are writing. 

Description is not a list of details; it’s not the passive experience of sitting back and looking at a scene.  It’s the story of a character’s encounter with a person, place or thing.

Observation:  Careful observation of details answers the question

WHAT IS IT LIKE?

Word Choice:  One precise adjective will serve better than four carelessly chosen.

                        Words must show as well as tell.

Element of Surprise: Challenge the reader to see something in a new way or context.

Make an impression:  Concentrate on one dominant impression that you wish to leave the reader with.

-          what it looked like

-          how it felt

-          what it meant

-          what it was worth

-          what people do with it

-          distinctive markings or

Precision:  Be as precise as possible in the description.

-          there are five senses: touch, smell, taste, sound, sight.  Appeal to your reader’s senses by making him/her feel, smell, taste and hear as well as see what you are describing. 

-          There are two other senses: thermal [temperature] and kinetic [movement]

Organized:  organize information in a way most appropriate to the subject i.e.

-          SPACE [inside to outside, front to back, etc.]

-          ASPECT [focus on one aspect, such as colour, then move on to another characteristic, like texture]

-          PERSPECTIVE [multiple perspectives paint a more complete picture of that subject; when describing wars, you could include the perspective of more experienced soldiers vs. fresh new recruits; the enemy and the allies = comparative descriptions]

-          Arrange your details in some kind of logical order that is significant

o       Inner-outer

o       Outer-inner

o       Top-bottom

o       Bottom-top

o       Edge-centre

o       Centre-edge

o       Present-past

o       Past

Resources:  Use a thesaurus (electronic or print) and dictionary to find vivid words for your piece.

Literary Devices:  Use devices such as similes, metaphors, personification etc. to make abstract concepts or unfamiliar subjects more concrete, more visual to your reader. 

WATCH OUT!

Avoid clichés:  This is part of being specific.  Clichés are tired and hurt your writing’s originality and precision. 

“He ran like a madman, she was as pretty as a summer’s day, Bob fought like a tiger…” Find some other way to visualize the scene or appeal to a different sense.  If you can’t picture it, how will you enable your reader to do so?

Course Outline

Below is the course outline for your online-referral.  Please note the

groupings for assignment deadlines:

Group A = Ankenmann ----> Legge

Group B = Lilleyman -----> Upans

ENGLISH: THE WRITER’S CRAFT

EWC 4UI

 Course Outline, February 2012

Ms. Durnin – jenna_durnin@bwdsb.on.ca

Welcome! “This course emphasizes knowledge and skills related to the craft of writing. Students will analyse models of effective writing; use a workshop approach to produce a range of works; identify and use techniques required for specialized forms of writing; and identify effective ways to improve the quality of their writing. They will also complete a major paper as a part of a creative or analytical independent study project and investigate opportunities for publication and for writing careers.” Prerequisite: English, Grade 11, University Preparation [Source: The Ontario Curriculum Grades 11 and 12: English 2007].

Text

The Writer’s Workshop by John Parker: This text contains writing ideas/topics, instruction in the revision process and mechanics and organizational and other writing skills, a glossary of terms, professional models, characteristics of the various genres, etc. Keep this text in your lockers/the classroom for use in class. If taken home, bring it back each day.

Achievement Categories

Weighting of Summative Evaluation

Example Strategies

Course Work	70%	Knowledge/Understanding; Thinking; Communication; Application
Knowledge/Understanding	15%	Quizzes, tests, Quantity and Quality projects, freewriting presentations
Thinking	15%	Open-ended questions, organizers, Quantity and Quality projects
Communication	20%	Open-ended questions, written responses in a variety of genres, debates, speeches, discussions, interviews, conferences, seminars, oral presentations
Application	20%	Quantity and Quality assignments, editing workshops/comments
Summative Evaluation	30%	Culminating Activities: Independent Project AND Writers’ Festival AND Exam

Note Bene:  The above mark distribution may be changed to suit the evolving nature of the course or changes in requirements.

Learning Skills

The following five (5) learning skills will be assessed and assigned a letter grade: Independent Work, Teamwork, Organization, Works Habits/Homework, and Initiative. E [excellent]; G [good]; S [satisfactory]; and N [needs improvement].

Definitions:

Quantity:             -write and/or revise every day (includes assigned Quantity

 assignments as well as periodic additional writing tasks)

-writing folder marked for completion and effort; teacher will take home periodically to evaluate. Daily effort is important.

Quality:                -must include a variety of genres (see below)

-marked based on degree of competence and creativity

-some assignments are compulsory

-choice within some assignments

-on computer

-must show serious effort to revise: must include prewriting, drafting,          

 editing

-must include rough work

Freewriting:                All students must lead class instruction for a freewriting activity. Freewriting activities will be discussed and scheduled on an individual basis. We will also be having a Writer’s Festival, during which we can share our best pieces of

                                                writing from the semester.

Tests/Exams:    -assess knowledge of various kinds, forms, techniques of writing, as

well as mechanical skills when writing "under pressure" and

"on demand".

One (1) Quantity assignment is due every second Monday (or the Tuesday if there is no school on the Monday for any reason). The first due date for assignments will be (Tuesday) 21 February 2012 for everyone. Thereafter, the due dates will be staggered by class groupings (see below). Quality assignment due dates will be negotiated on an individual basis as the course progresses and you develop a body of work. Keep in mind that you will need to do five (4) Quality assignments in addition to nine (8) Quantity assignments over the course of the semester!!!

Group A                                                                                              Group B

Tuesday Feb. 21                                                                               Tuesday Feb. 21

Monday Feb. 27                                                                                Monday Mar. 5

Monday Mar. 19                                                                                Monday Mar. 26

Monday Apr. 2                                                                                 Tuesday Apr. 10

Monday Apr. 16                                 8 Quantity                               Monday Apr. 23

Monday Apr. 30                                 Assignments                            Monday May 7

Monday May 14                                                                               Tuesday May 22

Monday May 28                                                                               Monday June 4

N.B.  Assignments must be handed in on time...unless there are extenuating circumstances approved by the teacher. GHSS policy is 15% maximum deduction up to 3 days after the due date. After that time, a mark of zero will be given.

Genre Choices

Use the text as well as direction/instruction/models provided by the teacher and your editor(s).

Students must complete a total of eight (8) Quantity assignments from the following list of choices. These should include seven (7) different genres. Students are also required to complete four (4) Quality assignments. These may be polished versions of any of the Quantity assignments or an original piece of work.

Caveat! Even though there is “only” a total of 12 assignments outlined here, there will be other assignments periodically which you must complete. It is imperative that you remain on task and self-motivated to be successful in this course and to get all course work completed. Budget your time wisely!

TRACKING SHEET

Use this sheet to keep track of what assignments you’ve done, marks received. Keep it in your portfolio.

Author’s Name:  ______________________________________________________

Genre Choices	Text Chapter(s)	Assignment Number/ Category	Submission Date/ Mark Received
Research Report	12, 13
Letters: e-mails, editor, business, application    [includes résumé]	17, 18, 20
Fiction [short story, screenplay, children’s literature]	1, 6
Poetry	1, 2, 7, 8, 10
Exposition: essay, demand, informative, argumentative	3, 4, 5, 16
Prose Description	2
[Auto]Biography	7, 8
Review [concert, play, film/DVD, CD, game, etc.]	9
Journalism [news article report, feature article]	14
Analysis	10, 11

N.B. Seven (7) different genres must be chosen to do eight (8) Quantity assignments.  You will also be required to do some other minor activities for a Quantity grade.

The dates for the four (4) polished Quality assignments will be negotiated on an individual basis. Two will be due in one term and three will be due in the other term.