The Inside Story

As writers, we need to think of ourselves as the characters we’re writing about. If the main character is a raccoon, imagine thinking like the raccoon in your story. How would a raccoon express itself if it spoke? How would it react in the events/problems/struggles in which it’s confronted?

As you develop dialog and actions, imagine what the raccoon is thinking and feeling. That’s the heart of the story. Internal thinking and feeling—what’s going on inside the character’s mind—can be the opposite of the character's dialog and actions. Internal dialog allows the reader to better understand the character’s motivations, which adds to character development.

A character may agree with another character by answering, “Sure!” Following this with the thought, Never in this lifetime, triggers the true feelings of the character. The feelings and internal dialog reveal truths that allow readers greater insight into the character.

Exposing the character’s true sentiments can also be used as a method to lighten the story with a dash of humor or to advance the plot.

Let your readers listen in and raise the emotional level of a scene.

 Call for Submissions for Young Writers:

The Telling Room. Empowers youth (young writers ages 6-18) through writing.

Submissions guidelines at https://www.tellingroom.org/submit

Call for Submissions for Adult Writers:

Smarty Pants Magazine for Kids. We are taking submissions for children’s short stories (up to 800 words).

Submissions guidelines at https://smartypantsmagazineforkids.com/submission-guidelines/

Nancy Kelly Allen has written 48 children’s books and a cookbook, SPIRIT OF KENTUCKY: BOURBON COOKBOOK.

Leave a message or check out my blog at www.nancykellyallen.com

What to Show, Tell, and Omit, Part 2

            Every writer must decide what to show, tell, or omit in a manuscript.

Check out these tips:

When characters talk (dialog) they should not repeat what they already know, unless the action took place a few chapters prior and the repetition is used to remind the reader. The purpose of dialog is to enhance character development and push along the plot. If your dialog isn’t doing that, omit it.

Limit the use of “he said” and “she said” as dialog tags. Allow the character to show some action to let the reader know who is speaking. 

Dialog should be authentic. It should sound like the age, gender, and culture of the speaker. A young child sometimes mispronounces words. That can be worked into the dialog to make the character seem real. 

Example:

“Don’t go there,” Annie said.

Annie stopped and stared at Jim. “Don’t go there.”

Also limit the length of a character’s dialog. A character that fills in an entire page without interruption, may be (probably is) talking too much.

Use exposition (explaining) sparingly. Large chunks of information should be fed to the reader in small doses to keep the interest high and the action moving.

Call for Submissions for Young Writers:

Blue Marble Review. Are you age 13 to 21? (Or do you have writing kids?) If so, then Blue Marble Review is worth considering since there are few paying markets for teen writers. They accept fiction, nonfiction, poetry, and art. Pay is $25 ($75 for cover art). All submissions should be unpublished.

Submissions guidelines at https://bluemarblereview.com/submit/

Call for Submissions for Adult Writers:

The Writer magazine: “Calling all YA & kidlit authors: We’re currently accepting pitches for our annual “Writing for Young Readers” issue! We are interested in how-to stories, reported pieces, narrative essays, and profiles of writers and others in the field.

Submissions guidelines at https://www.writermag.com/the-magazine/submission-guidelines/

Nancy Kelly Allen has written 50+ children’s books and a cookbook, SPIRIT OF KENTUCKY: BOURBON COOKBOOK.

Does the character change/grow/learn something by the end of the last chapter? The main conflict gets resolved by the end of the book. In some books, characters may change the way s/he looks at the world. In others, a character may realize that s/he was doing the right thing all along. That realization is the result of the growth of character. Either way, the character should experience growth.

Sentence structure is as important as word choice. In revision, I reread the entire manuscript looking at nothing but sentence structure. My goal is to vary the structure to help create rhythmic prose. Long, short, and mid-size sentences keep the writing lively. Too many subject-verb sentences craft bland writing, and readers notice with a yawn. Another option is to vary sentence openings: Susie peeped out the window. As the rain pinged the glass, Susie peeked out the window.  

Check the dialog. I read each piece of dialog and question whether is sound appropriate for the character’s age and situation. As I read it aloud, I listen to the words and tone. My goal is to capture the voice of each character. By reading aloud, my brain hears mistakes that my eyes overlook if reading silently. It’s also easier to catch the flow and rhythm of the words. Try it. 

Grammar, punctuations, and manuscript format are my final checks. Professional looking manuscripts are more likely to get read than those with simple, overlooked mistakes.

Revision is our chance to make manuscripts shine. I wish you sparkle and glimmer in your literary output.

Call for Submissions for Adult Writers:

DIG Magazine is a world history publication that targets children aged 9 to 14. They’re accepting queries for feature articles, supplemental nonfiction, and fiction. Writers can pitch anything from plays to biographies. 

Submission guidelines at http://cricketmedia.com/dig-submission-guidelines 

Nancy Kelly Allen has written 40+ children’s books and a cookbook, SPIRIT OF KENTUCKY: BOURBON COOKBOOK.

Leave a message or check out my blog at www.nancykellyallen.com

Chapter Book Revision, cont’d

Set the tone of the book. Is it serious or humorous? Sad or happy? The tone is the author’s attitude, or the narrator’s. The mood of the story is the emotion the reader feels. Both are important and need to be set early in the first chapter. Setting the tone early provides glimpses into what the reader can expect in the rest of the story. In my chapter book, THE RIDDLERS, mystery and a touch of humor set the tone.

Does the writing zing? Word choice is crucial to voice, and voice is crucial to writing that sparks imagination. Voice is the music of language that spurs on the story and captures the reader’s interest. Zing can be small tingles or mighty zaps. A variety of unexpected descriptions and snappy dialog create surprises for the reader. When reading a sentence, if the reader can predict the finish (hungry as a bear/white as snow) the writing is clichéd with no zap, not even a tingle.

Have I chosen the best word, not merely a good word? Which of the following offers more description: sat/plopped down. Both work, but “plopped down” provides more detail and gives the reader more insight. Choosing the best word doesn’t mean staying in constant contact with a thesaurus; instead, it means using the best word to evoke emotion. Readers want to step into the world writers create and experience the feelings/needs/desires of the characters. One technique to induce that sentiment/reaction is to use strong verbs and show the action. Betty was scared tells how the character felt. Betty’s hand trembled showed her emotion in action. The second example also provides a mental visual. The first does not. Visual images help a reader connect to the action and experience the character’s feelings.

Call for Submissions for Adult Writers:

FUN FOR KIDZ. We are looking for lively writing that involves an activity that is both wholesome and unusual. The Ideal length of a FUN FOR KIDZ nonfiction piece is up to 300-325 words for a one-page magazine article or up to 600-650 words for a two-page magazine article. Articles that are accompanied by strong high-resolution photos are far more likely to be accepted than those requiring illustration.

Submission guidelines at http://funforkidzmagazines.com/ffk_guidelines

Nancy Kelly Allen has written 40+ children’s books and a cookbook, SPIRIT OF KENTUCKY: BOURBON COOKBOOK.

Leave a message or check out my blog at www.nancykellyallen.com

CHAPTER BOOKS Characteristics

As young readers (ages 6-9 or 10) transition from short sentences to paragraphs, chapter books become the reading selection of choice. These books are often written as a series, and story is not as dependent upon the illustrations as are those in picture books and beginning readers. Prose carries the story in chapter books along with numerous illustrations. These books bridge the gap between beginning readers and middle grade novels.

Chapter books are written in a wide variety of interests: humor, adventure, supernatural, mystery, and more. Although they differ, they share these similarities:

• Fast paced—the story/plot moves quickly.
• Fun to read with loveable/enjoyable characters
• Plots are clear and simple.
• A protagonist who is good or means well even if the behavior is questionable. Make it clear to the reader why the character is misbehaving. Characters can be mischievous and make mistakes.
• Lots of dialog. The voice of the characters should sound like a child whose age is approximately that of the reader (ages 6-9).
• In comparison to middle grade novels, chapter books have shorter sentences, paragraphs, and chapters. Omit unnecessary words, but sometimes long words can be used if the meaning is made clear by the text or the meaning is evident by sounding out the words. Chapter lengths range from 4,000 to 15,000 words.
• Interesting, lively language.
• Humor rules…and sells. Kids love to laugh. Editors love books that make kids laugh.
• The child protagonist outwits the bad guys.
• Events can be dramatic. The characters can, and should, experience heightened emotions, including but not limited to joy, embarrassment, or fear (the fear shouldn’t be nightmarish).
• Most stories are told through the viewpoint of a single character.

Read lots of chapter books to gain an understanding of what publishers are looking for in these tales.

Call for Submissions for Adult Writers:

Golden Fleece Press. Submissions for Wee Tales and Refractions must be age appropriate for the journal (7 to 12 for Wee Tales, 13 and up for Refractions). Refractions short submissions should be between 1000 and 5000 words, Wee Tales submissions should be between 600 and 2000 words.

Submit to GFPsubmissions@gmail.com  Subject line: QUERY–Title–Last Name

Nancy Kelly Allen has written 40+ children’s books and a cookbook, SPIRIT OF KENTUCKY: BOURBON COOKBOOK.

Leave a message or check out my blog at www.nancykellyallen.com. My Website is www.nancykellyallen.com.

Writing a Chapter Book

 

 

I’m in the process of revising a chapter book manuscript. I wrote it about two years ago, revised it a few times, and then placed it aside to work on picture books. Now, it’s time to revisit the manuscript. Waiting a few months before revision is important so I can visualize the text with fresh eyes and a clearer editorial sense. Usually, I don’t wait this long, but I want to give this story the best chance possible for publication. Letting time pass without reading it will make it easier to recognize the weaknesses of the story and the mistakes.

Since I wrote the manuscript, I’ve read lots of chapter books. According to Stephen King, “If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.” Reading works of numerous authors teaches writers a variety of ways to approach a subject, plot, or character. You’ll gain an understanding of the nuances of language and recognize how the structure of a story is built. As a writer, I try to read like an editor, and that comes with practice. I read, at least, ten children’s book a week. My mantra: Read more. Write better.  

I’ve also continued to read books on the writing process. As authors, we have to be cognizant of the subtleties of the language: voice, word choice, narrative and dialog humor. These can be learned. A ton of books are available on all types of writing. Every week, I read several articles about the writing process.  

The story is there. I need to smooth the rough edges and there are plenty of them. 

In my next blog, I’ll discuss the basic characteristics of a chapter book.

Call for Submissions for Young Writers:

I will resume the Call for Submissions for Young Writers in September.

Call for Submissions for Adult Writers: Id: 7,424, Version Set: 614, Version Number: 1

A Chicken Soup for the Soul story is an inspirational, true story about ordinary people having extraordinary experiences. It is a story that opens the heart and rekindles the spirit. It is a simple piece that touches our readers and helps them discover basic principles they can use in their own lives. These stories are personal and often filled with emotion and drama. They are filled with vivid images created by using the five senses. This call is for a story about grandparents.
Submission guidelines at https://literarium.net/market/chicken-soup-for-the-soul/chicken-soup-for-the-soul--grandparents

Nancy Kelly Allen has written 40+ children’s books and a cookbook, SPIRIT OF KENTUCKY: BOURBON COOKBOOK.

Leave a message or check out my blog at www.nancykellyallen.com

Think Visually for a Picture Book

I wrote a picture book manuscript. Revised until my eyes threatened to cross. Pitched it to my critique partner for feedback. Revised again. Back to my critique partner, and revised again. 

Since most picture books have two components, pictures and text, the goal is to limit words to the bare essentials. The characters' clothes, house, shoes don’t need to be described, unless vital to the story, because the illustrations will provide those. For writers who are not illustrators, it can be difficult to think visually, eliminating the aspects that can be shown through illustrations.

Lack of description provides space for illustrators to carry the story beyond the text and to develop a variety of picture possibilities. Sometimes illustrations add a second story line. 

Focus the story on action and dialog. Dialog allows the emotion of the character to step off the page.

Introduce characters that reflect the interest of the audience/age group. 

Move characters forward in the plot and into different settings. 

Vary the emotional intensity of scenes.

With a maximum of 600 words or less, omitting description allows writers to delve deeper into the story in a short amount of space.

Call for Submissions for Young Writers:

Amazing Kids! Online Magazine. Do you love writing, art, photography or videography, and are between the ages of 5 to 18? Would you like to be published in the Amazing Kids! Online Magazine? Submit your writing and art; it might just be published in an upcoming issue!

Send your name, age, and state/country when you send us your work. Please keep in mind we only accept kid-friendly, age-appropriate original creative works done by kids and teens. (The work must be appropriate for kids ages 12 and younger) and can be any of the following:

Submission guidelines at http://mag.amazing-kids.org/get-involved/write-for-us/

Call for Submissions for Adult Writers:

East of the Web is keen to provide exposure for writers by offering them a place where their work will be seen and read in a high quality, respected setting. The site receives about half a million unique visitors per month, so successful submissions are likely to be viewed by more readers than in almost any other short story publication. In addition, the site receives attention from agents, the press, film makers, schools, universities and other publishers.

Submission guidelines at http://www.eastoftheweb.com/short-stories/Publishing.html

Nancy Kelly Allen has written 40+ children’s books and a cookbook, SPIRIT OF KENTUCKY: BOURBON COOKBOOK.

Leave a message or check out my blog at www.nancykellyallen.com

Originality in Writing

 

Editors say they are looking for an original story. Most stories are built on universal themes (friendship, loss, anger, etc.) and plot structures with a typical beginning, middle, and ending. Characters face challenges and overcome obstacles. So what’s new!

 

Manuscripts can and should be creative, but probably will never be totally original. The idea is to make your work stand out from thousands of other books on the subject. One way to foster originality is to rely on your own individuality. Think back to your childhood. Remember your thoughts and feelings and how your imagination soared. Every person has a perspective molded by the world in which they live.

Some stories lend an air of originality and some seem little more than a stale retelling. To make a story feel fresh with an element of originality, write your first instinct for action or dialog in a scene; then question everything about what you have written. What if the character did the opposite of what you wrote? Would the scene still make sense and would it bring some originality to the scene?

Surprise the reader. The unexpected builds reader interest in the scene and creates your own individual style. Therein lies the core of originality.

Some things never change: We want the good guys and gals to win and the bad ones to lose. We are happy with a satisfying ending. But in getting to the ending, we need to push our imaginations out of the comfort zones to create opportunities to lead the reader on a new and surprising journey.

Call for Submissions for Young Writers:

Cuckoo Review. Please ensure that you submit your writing in the correct form. It saves us a lot of hassle and means we’ll be able to get your work on the site quicker.

WORD COUNT
The word limit for all pieces is 500 words. If you’re writing a feature article then the word limit will be set when the piece is assigned.

All submissions should be emailed to contactcuckooreview@gmail.com as an attachment (.doc). Please ensure that all reviews include YOUR NAME and:

BOOK REVIEW
*Title of book
*Author
*Publisher
*Date of publication (if not already published)
*Link to author website

Submissions guidelines at http://review.cuckoowriters.com/what-is-cuckoo-review/submission-guidelines/

Call for Submissions for Adult Writers:

The Best Advice I Ever Heard. Chicken Soup for the Soul. Have you ever watched a movie or read an article that really had an impact on you that you haven’t been able to forget? Do you have a friend or family member who gave you some advice that you didn’t necessarily want to hear but really needed to hear that stuck with you and directed you to make positive changes in your life?

We are looking for stories that contain a great piece of advice that you were given or advice that you gave to someone else. Whether the advice is about a little thing that improve your everyday life, or major epiphanies that can change a life completely, we want to hear about them and how they made a difference.

Deadline: February 28, 2018

Submissions guidelines at http://original.chickensoup.com/form.asp?cid=possible_books

Thank you!

Nancy Kelly Allen has written 40+ children’s books and a cookbook, SPIRIT OF KENTUCKY: BOURBON COOKBOOK.

To comment or check out my blog:  www.nancykellyallen.com

 

Picture Book Revision, part 2

            Tips on revision, continued:

My thought processes rely heavily on verbs that don’t show action: is, are, was, were…. In revision, I eliminate many of the non-action verbs and replace them with other verbs that paint a specific picture (pedaled, skipped, barked). Action verbs don’t need modifiers, so fewer words are needed to describe the scene.

Add rhythm. Alliteration (fog floated) makes the prose livelier. Onamonapia (bumpty-bump) adds a beat that sounds like poetry when read aloud. Rhythm is how the words connect, a rise and fall of the phrases and sentences.

Less dialog. Picture books don’t rely heavily on dialog. Usually, dialog is no more than 1/3 of the text, often much less. Rather than conversations, use action scenes that can be illustrated with the narrator relating the action. The targeted audience is young children who prefer fast action to character conversation, which often slows the action. Of course, this is a general rule. Some books have no dialog, and some are all dialog.

Let the illustrations tell part of the story. Picture book writers have to think visually. When I write a first draft, I include scenes that describe illustrations. In revision, I study each word, phrase, and sentence; then, delete everything down to the bare action. Sometimes I cut so much, I have to add it again to make the story understandable. Picture books are short and the stories are to the point.

Every page in the book must show action and the pace is usually fast. After writing the first draft, I divide the manuscript into 13 scenes. Each scene must show action. If not, more revision is required.

Next week, I’ll add more tips.

Call for Submissions for Adult Writers:

Narrative is strongly committed to supporting our authors’ work. Our current rates for work are as follows:—$150 for a Story of the Week, with $400 each for the annual Top Five Stories of the Week.
—$150 to $350 for 500 to 2,000 word manuscripts.
—$350 to $1,000 for 2,000 to 15,000 word manuscripts.
—Rates for book-length works vary, depending on the length and nature of the work.
—$50 minimum for each accepted poem and audio piece. ($25 for poetry reprints.)
—$200 each for the annual Top Five Poems of the Week.FIRESIDE

Submission guidelines at http://www.narrativemagazine.com/node/360

Editor Request to Rewrite

I’ve been fortunate this year to receive contracts on three books, possibly a fourth if my revision holds up to editorial scrutiny. About a month ago in my mailbox, I received a return on a manuscript, which usually means a rejection. Not this time. The editor asked me to change the character from an adult (king) to a child (prince) protagonist. Normally, my characters are children, but some popular pictures books of late have quirky adult character so I gave the idea a try.

My quirky character didn’t resonate with the editor but she liked the basic story with its universal problem, so she asked me to rewrite with a child as the main character. No problem. I’d change some narrative, some dialog, some events. Easy peasy!

As I began revising, I soon realized that what worked well for a quirky king didn’t work at all for a young prince. Much of the story (as it turned out, ALL of the story) was not appropriate for a child protagonist: the world view was too mature, the dialog didn’t fit the characters, and even the names had to be changed. 

So what does a writer do? This writer does a complete rewrite. When I completed the revision, about fifteen words matched the original story. That doesn’t mean that the text of the original has to be discarded. Mary Higgins Clark offered sage advice about cutting large blocks of text from a manuscript. She keeps it in a file to be used in a future book.   

Not only do I have a new manuscript, I now have a few bits of dialog and narrative in an old manuscript from which I can pull as some point. Those bits are gold in my literary vault. 

Call for submissions for Adult Writers

NewBBay’s Science Fiction Contest is open to all eligible writers submitting original works of 1,000 words or greater. We suggest a range of 1,000 to 30,000 words per piece, total. Each writer may submit up to two pieces. International entries are welcome, though submitted pieces must be in English. Writers must sign up at NewBBay.com, submit a “Writer Petition”, and post their work through our publication platform. Writers must include the word count and appropriate contest tag ( #SciFiContest ) in the description.

Deadline August 15, 2016.

Submission guidelines at http://www.newbbay.com/

Let’s Talk Picture Books, Part 4

Our stories should entertain, first and foremost, but they should also give readers something to think about, both as they read the story and after the book is finished—maybe a question about courage or friendship. The theme of the story is the underlying message, the big idea, of the story. We should never go overboard with teaching or hammering our message. A subtle guide is all that is needed. Consider ideas that you would have enjoyed reading about or what you needed to know when you were the age of the targeted audience. Did you lose a pet that left you heartbroken? Did your best friend move away and you grieved over the loss? Did you have to deal with a bully? Reflect on events in your childhood and how reading about characters who dealt with similar situations resonated with you emotionally. Kids identify with characters and in doing so learn more about themselves.

Kids relate to book characters and want to learn more. That’s the reason series are so popular. When writing, think in terms of the child character. How will the child relate to this situation? What would a child say and how would a child say it?

Try this exercise: Choose a situation: lost pet, best friend moving away, or a bully. Write a few paragraphs as an eight-year-old. Rewrite it from the perspective of a five-year-old. Use narrative and dialog.

Reading books geared toward both age groups will give you a good understanding of the differences in the writing.

Call for Submissions for Young Writers:

Guardian Angel Kids. A children's Ezine designed for healthy and safe entertainment for children. Includes stories, poetry, video, audio, games, free coloring pages, and more. Submissions accepted from young writers and artists up to 12 years old.

 Submission guidelines at http://www.guardian-angel-kids.com/submissions.html

Call for Submissions for Adult Writers:

Humpty Dumpty Magazine (ages 2-6)

FICTION: Short stories 450 words or less.

BUILD-A-BOOK: We are accepting short mini-stories of 70-125 words. These should be positive and light-hearted; often humorous. Characters can be children or animals. We welcome material that deals with kindness, love, good manners, friendship, holidays, and seasons.

NONFICTION: We accept short articles of 300 words or less on science and nature, as well as age-appropriate how-to projects.

POETRY: We accept poems 4-12 line poems. Please remember the age of your audience.

CRAFTS: We accept fun crafts of 250 words or less that young children can make with a bit of adult help. Crafts can celebrate holidays or seasons. Materials should be inexpensive and easy to obtain. Include easy-to-understand steps and directions and, if possible, include a photo of the finished craft.

Submission guidelines at http://www.uskidsmags.com/writers-guidelines/

 

Let’s Talk Picture Books, Part 2

Show, don’t tell. In picture books, illustrations show the action so the writer needs to use words to convey emotions and reveal the action, rather than describing what is happening. If the illustrations show the action, little description is needed. Example: Jasper is riding a bicycle in the illustration. Description of the bicycle and Jasper can be eliminated from the narrative and dialog.

Action verbs are our friends. These verbs-slither, crawl, jump, throw-focus on the action rather than description. Avoid overuse of adjectives and adverbs because they describe what is happening. The mantra for picture book writers is “Think visually.” Unless we create art for our books, which I don’t, it can be a difficult task for writers to think of the action in terms of pictures as opposed to narrative description and to omit the parts an illustrator will include. Consider moving the plot forward with action via dialog, strong verbs, and character behavior.

Word choice is key to a picture book and, for me, the most fun in writing. I usually just get the bones of the story in place from beginning to end—the hard part. Once I’m over that hurdle, it’s playtime. I love taking a plain, unemotional, flat sentence and turning it on its dull little head, bounce it around, and see what falls into place. Alliteration, rhythm, similes, and metaphors are word play writers use to be creative with language designed for a particular audience. Tickle the words; tease them; poke and prod them. Enjoy the process. If you’re having fun, you’ll more likely to finish the manuscript and write more.

Next week, we’ll talk more picture books.

Call for Submissions for Young Writers:

Figment. An online writing community from HarperCollins Publishing for writers 13 years old and older to share young adult fiction, short stories, and poetry, give and receive feedback, and enter contests.

Submission guidelines at http://dailyfig.figment.com/category/contests/

Call for Submissions for Adult Writers:

Dialogual is a new magazine seeking submissions year-round on dialogue-only prose.

We seek works on all genres, except erotica. Under 300 words. However, we do not take anything that has been accepted before, or that has appeared on blogs or similar sites. In other words, we want fresh material.

Send your snappiest, wittiest, funniest talks.

Or the ones you think will make us wonder, ponder and think about life.

It can be fiction or non-fiction.  

Submission Guidelines at http://dialogual.wix.com/dialogual#!sub/cqh1

Let’s Talk Picture Books, Part 1

It’s been a while since I’ve written about picture books, primarily because I’ve been so busy writing chapter books. I have a new picture book scheduled for publication in 2016 so let’s talk.

For the last few years, the picture book market has been down, but it is definitely on the rise. The word count is low, less than 500 for many of the books, but there are always exceptions. THE DAY THE CRAYONS QUIT is about 1,000 words, which is long for today’s market; yet it has become a best seller. Does that mean the trend for higher word counts is upon us? Trends come and go so who knows.

Some picture books are all narrative with no dialog, such as LOOK UP, the biography of Henrietta Leavitt astronomer. Some are all dialog and no other narrative, as in DON’T LET THE PIGEON DRIVE THE BUS. Usually, picture books are a blend of both narrative and dialog. In many, dialog is about one-third and narrative two-thirds. Dialog is useful in creating the character and developing the plot. It also serves as a way to keep the word count low. The dialog, “Stop!” uses fewer words than “She told her sister to stop.”

What trends have you noticed in picture books?

Next, week, we’ll talk more.

Call for Submissions for Young Writers:

Creative Kids magazine is the nation’s largest magazine by and for kids with games, stories, and opinions all by and for kids ages 8–14.

Submission guidelines at http://www.ckmagazine.org/submissions/

Call for Submissions for Adult Writers:

RROFIHE TROPHY. NO-FEE SHORT STORY CONTEST. For an unpublished short story. Minimum word count 3,500; maximum to 5,000 words. Winner receives $500, trophy, announcement and publication on anderbo.com. Deadline October 15, 2015.

Submission guidelines athttp://www.anderbo.com/anderbo1/no-fee-rrofihe-trophy2015.html

Writing Style

Have you ever read so many books by a writer that you recognize the style immediately. Dr. Seuss, for instance, had a specific style.

In The Cat in the Hat, the mood was fun, happy, playful. The word choice evoked lighthearted zeal.

"They are tame. Oh so tame!
They have come here to play.
They will give you some fun
On this wet, wet, wet day."

Bill Martin Jr. could not read as a child. He called his writing style “jazzy” and wrote “to a melody,” meaning that his words had a particular rhythm. Many of his books had a predictable text, such as Brown Bear, Brown Bear What Do You See? and Chicka Chicka Boom Boom.

Writing style is the way an author chooses to write to the audience. It reveals the writer’s word choice, sentence structure, and tone, all of which varies with every writer. Style is the WAY a piece is written as opposed to WHAT is written.

When you will begin writing your book, consider the style. Will the text be condensed to a few words on each page or filled with imagery and details? Will it be told in a lyrical fashion, as Bill Martin Jr. and Dr. Seuss did, straightforward text as with many nonfiction books, or maybe with a touch of humor infused into a serious piece? Will it be told in first or third person?

As you write stories, your style will emerge. The way you use written language by creating dialog and constructing sentences and paragraphs, touches of humor, playfulness in word choice all contribute to your literary individuality—your writing style.

Call for Submissions for Young Writers:

Adroit Journal. A  literary magazine run entirely by high school and college students. Adroint publishes poetry, fiction, flash fiction, art/photography, and cross-genre works with separate submissions for "adults" and those "under the age of 21."

Submission guidelines at http://www.theadroitjournal.org/general-submissions/

Call for Submissions for Adult Writers:

Young Rider is a bi-monthly magazine written for children and teens who own horses or who take lessons at riding schools. Pays $150 for features of 800 to 1,000 words.

Submission guidelines athttp://www.youngrider.com/contact-us.aspx

Idea to Finished Manuscript, Part IV

Outline. Are you a panster (writing a story by the seat of your pants) or a plotter (outliner)? Do you outline the story from beginning to end? I’m a plotter because it helps me think the story through before I begin writing and saves me a ton of time in revision. I figure out the plot and the setbacks and other twists and turns before hit the keyboard. Other writers plan as they go. Both ways work. Try each to see which is a better fit for you.

Add dialog to make the characters come alive. Dialog should sound real, not be real. When people talk, our words usually flow freely out of our mouths but the conversation can be boring reading. We often add uh and um and get sidetracked in our thoughts. Dialog should stay focused and either promote the plot or help develop the character.   

Play with your idea and have fun with it. The first draft is supposed to be terrible so don’t be alarmed when you read your story and say Yuck! Garbage material. All writing has preliminary stages in which you discard some ideas and keep others. Create different plots to discover what works and what doesn’t. Give your ideas time to incubate and grow. If you’re not having fun with the story, the reader probably won’t either.  

Call for Submissions for Adult Writers:

THE SPIRIT OF AMERICA – CHICKEN SOUP
http://www.chickensoup.com/story-submissions/possible-book-topics
Send us your stories about what it means to be an American, whether you’re talking about apple pie and baseball, country music and our national anthem, barbecues, national holidays, our military heroes, first responders, American ingenuity, buying “made in America”, our huge and varied country, our diversity and our tolerance, our energy and spirit, and all the other things that make us proud Americans. Deadline November 30, 2015. Limit 1,200 words. Pays $200 and ten copies.

Submission guidelines at http://www.chickensoup.com/story-submissions/possible-book-topics