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Writing for Children

Do you want to learn how to write a children's book? Make money writing for children's magazines? Since 1969, The Institute of Children's Literature has taught over 470,205 aspiring writers. Listen to the director of both The Institute for Writers and The Institute of Children's Literature and bestselling children's author Katie Davis host the show as she focuses on the craft of writing for children. She talks about how to write a children’s book, how to write for children’s magazines, how to get paid for your writing, and how to get published in the world of kidlit. There are hard-to-find resources, tips, and links included in every week's show notes. And, don't forget to check out the Institute of Children's Literature where you can be paired with a one-on-one mentor and learned to create polished and engaging projects that publishers are looking for in today's children's market.
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Now displaying: May, 2019
May 31, 2019

POINT OF VIEW AS A TOOL

This and last week’s podcast is based on an article written by author and former ICL instructor Chris Eboch which touches on engaging your reader and gives some strong examples. In our episode 150, we talked about using vivid nouns and verbs instead of vague description to engage your reader in your story. In part two, we’re delving into using point of view for the purposes of showing.

 

Join the Institute of Children's Literature Community! Get our free weekly newsletter with articles on the craft of writing, hot markets looking for your work, and cool resources for your writer toolbox: www.instituteforwriters.com/icl-news

May 24, 2019

CONVEY THE WORLD OF YOUR STORY

An important part of setting the stage for your story is to convey the world of your story in a way that engages the reader and doesn’t just dump a bunch of facts in their lap. I recently read an article written by author and former ICL instructor Chris Eboch that touches on this point with some strong examples. It’s so good, we’ll be talking about it for two weeks. Let’s get started with part one.

 

Listen to Part 2 here: www.instituteforwriters.com/sophisticated-show-and-tell-part-2

 

May 17, 2019

GIVE YOUR CHARACTERS SOMETHING TO DO

Summed up to its essential core, a plot is the result of applying pressure to a character to the degree that the character must act in reaction to the pressure. The pressure you apply and the reaction to it will be directly tied to the character you’ve created.

An impulsive, brave, active child will take very little pressure to be pushed into an adventure, but an “easy” plot like that is rarely very satisfying for the reader. Let's talk about ways to up the pressure and keep your readers engaged.

 

Let a one-on-one mentor help you get those characters out of your head and onto the page. Get started here!

May 10, 2019

HOW TO EVOKE DETAIL IN YOUR WRITING

Today we’re talking about the art of description. This episode is inspired by Assignment 3 in the Writing for Children and Teens course. We’re going to focus on evoking in detail a particular place you remember from your childhood. That word “detail” is important, because, if you think about it, specifics are what bring a subject to life on the page—and the elements that make for interesting reading.

 

Get a one-on-one mentor to help you write publishable work that agents and publishers are looking for! Get started here!

May 3, 2019

AN INTERVIEW WITH EMMA D. DRYDEN

Emma D. Dryden founded drydenbks LLC (www.drydenbks.com), a premiere children’s editorial & publishing consultancy firm, after 25 years experience as editor and publisher of Margaret K. McElderry Books and Atheneum Books for Young Readers, imprints of Simon & Schuster Children’s Publishing. We are thrilled to bring you her expertise on setting and world building in this month's interview.

We talk about:

  • The best way to help your reader feel like they’re in your world without “telling” and creating prolonged descriptions.
  • Great metaphors for emotions (and a way to show not tell).
  • How to avoid cliched characters.
  • What to do when readers tell you they’re not believing your character.
  • The biggest mistakes Emma often sees when people are trying to set the stage.

 

Let a one-on-one mentor to help you write publishable work that agents and publishers are looking for! Get started here!

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