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Many may say that crafting a story for children is a piece of cake compared to writing for adults. After all, the stories are usually shorter.

Creating children’s books can be much more difficult than it might seem! In this article I will discuss the necessary skills for creating an outstanding book for children, how to avoid common errors, and advice for getting your book published.

1. Know the children’s book market
2. Read contemporary children’s books
3. Have a unique idea
4. Create relatable characters
5. Plot using character arcs
6. Find a captivating voice
7. Use settings and experiences kids recognise
8. Write and re-write!
9. Avoid classic mistakes all new writers make
10. Get an agent

Creating literature for children is not as straightforward as writing a lengthy novel for adults; it can be even more challenging to compose a book in fewer words. When producing content for young readers, there are numerous elements that must be taken into account that would not be a factor for adult authors.

I have been creating stories for young readers since I was a child myself. Initially, I thought it would be a piece of cake. However, after three unsuccessful books and over fifty refusals, I came to the realization that the task was far more difficult than I had anticipated after fourteen years.

At times, when I am writing, it can be beneficial to take a break. I take a moment to take a deep breath and to consider a different approach. This is exactly what I did in this situation.

Instead of giving up after so many set backs I sat down and I followed a set of rules to write a book for Young Adults called ‘Outside’I dispatched my work to an agent, and within the space of forty-four minutes, they had made me an offer of representation. In the following month, Penguin published it in the United Kingdom.

Creating content for young readers can be a challenge. Nevertheless, you can do it. This blog is here to provide you with the necessary information to write a book that is sure to be loved by children and publishers alike.

Although the journey may be challenging, I believe you are going to enjoy each moment of it in a clandestine way – just as I did.

Books for babies and toddlers come in the form of board books and picture books. Early readers, chapter books, and middle grade books are meant for young children. Teen and young adult books are appropriate for teenagers from those beginning secondary school to those close to leaving for university.

Books for children are as varied and unique as the children themselves, so it is critical to understand the target audience when writing for them.

Generally, the children’s book market fluctuates every few years, but the main categories are typically comprised of:

• Picture Books (0 – 5 years) Between 300 – 1000 words, depending on who the book is aimed at (babies 300, toddlers 500, pre-schoolers 1000).
• Early Readers (5 – 7 years) Less than 10,000 words. These books can be illustrated and are divided up into chapters.
• Lower Middle Grade (7 – 9 years) Between 10,000 – 30,000, depending on the reading age they are best suited for. The lower the reading age, the lower the word count.
• Middle Grade (9 – 11 years) Between 30,000 and 60,000. There is a bit more room in Middle Grade to push the boundaries of wordcount and theme, within reason.
• Teen (12+ years) Usually around 60,000, but there are books in this category as low as 40,000 and as high as 90,000!
• YA / Crossover (14+ years) Over 60,000 words. Fantasy books in this category can push the wordcount to more like 90,000, but usually around 60,000 – 70,000 is the magic number.

It is evident that books for children of a younger age are typically much shorter. When writing a picture book, it is not necessary to compose rhymes or possess knowledge of an illustrator. In fact, some agents prefer to receive the text of the book sans any artwork, as this makes it simpler for them to link the text with the right illustrator at a later time.

Creating stories with a limited word count that can evoke strong emotions from both adults and children alike is a difficult task. I personally believe that writing picture books may be the most challenging and competitive of all writing styles.

At ages 7 to 11, the reading level shifts. An 8-year-old could be reading a book that was written for an 11-year-old and that is perfectly acceptable! When considering books for this age group, it is better to think in terms of the ‘Reading Age’ rather than the actual age. Early Readers are suitable for children still learning to read, while Lower Middle-Grade books tend to be humorous and light-hearted.

Currently, there is a vibrant market for middle-grade books, which are often enjoyed by both adults and children alike. These works can be more daring in terms of content, and offer a larger word limit than other works. However, the focus should always be on the characters and their stories, which is something to keep in mind when writing.

Young Adult (YA) fiction is divided into two categories: Teen and Young Adult/Crossover. Teen fiction typically deals with issues that affect young people in the 12-13 age range and is typically lighter and sometimes humorous. Young Adult/Crossover fiction, on the other hand, features protagonists who are under 18 and can range from romances set in a school setting to darker, more suspenseful stories.

You can find out more about average novel word counts in this article and how long chapters should beReading books can be a great way to escape from reality and explore new worlds. They can also be a source of knowledge and insight. Whether it be fiction or non-fiction, novels or children’s books, there are many different genres and topics to choose from. Taking the time to read can be a rewarding experience, and can provide hours of entertainment.

It is important to be knowledgeable about the target audience when deciding which age group to write for. It is essential to have an in-depth understanding of this market in order to successfully write for them. Being well-informed about the market is a key part of the writing process.

Gaining an understanding of your market can be achieved by reading everything related to it. Believe it or not, adults can still enjoy children’s books! I have been delighted and amazed by some of the books I’ve read that are intended for children.

It is not wise to reread books that you enjoyed when you were younger. The publishing industry is always changing, so books that were published in the past may not be considered acceptable today. It is important to stay informed about new books that are being released, especially those written by debut authors, as you will likely be one of those authors soon!

When reading a book, it is helpful to take note of the sentence structure, characters, and plot arcs. Consider the language used – is it simplistic or more complex? What ages are the characters in the story? Additionally, take note of any unexpected plot twists and turns. Doing this will be very beneficial when writing your own stories.

Now we arrive at your own book (yay!). Unfortunately, I have some bad news (darn!).

Competing in the world of children’s literature requires exceptional quality, as only the best works are chosen for publishing.

Creating a book out of your story is totally doable thanks to this article. It all starts with a gripping concept that will shock agents and leave them speechless.

Reflect on your preferred tales. Generally they can be concisely summarized into one memorable sentence, right? For instance:

“Death narrates as a girl steals books in WW2 Munich, as her foster parents conceal a Jewish fist-fighter in their home.” – The Book Thief

“A girl has been trapped Inside her whole life, until one day she finds a hole in the wall.” – Okay, so that’s my book,

Your idea needs to stand out. It needs to be unique and captivate attention. It is essential to differentiate yourself in this field in order to be successful.

Need some help developing an idea like this? Try this free Idea Generator – it comes via an email. You can also learn a lot from this post on How to Get Book Ideas.

You have an exciting idea that will capture the attention of an agent, eventually leading to publication and reader engagement.

If you want to make sure your characters remain memorable, it is important to create characters that children can identify with.

When deciding the age of characters for a Young Adult fiction story, it is important to take into account the age of the intended audience. Generally, children prefer characters that are slightly older than themselves, so when writing YA fiction, it is best to set the protagonist’s age between 15 and 17 years old.

Around 90% of books intended for children feature children as their main characters. The remaining 10% usually consist of animals and mythical creatures, yet almost always these characters act and talk like children within that particular age group. Rarely, if ever, are the protagonists adults.

Considering the age of the intended audience, it is important to consider the traits that children are likely to look for in a protagonist. Courage is an admirable quality, though not necessarily in the form of a sword-wielding hero, as bravery can come in many forms. Characters should also be kind-hearted and have an interesting quirk or two, such as a hobby or set of beliefs that make them unique.

Let’s take an example protagonist. ‘Charlie’ from ‘Charlie Changes into a Chicken’.

This humorous Lower Middle-Grade novel follows a young boy who is burdened by anxiety. Whenever he experiences a surge of anxiousness, he shape-shifts into an animal. With his sibling in the hospital and a school play just around the corner, he has a lot of worries to contend with.

Charlie has a unique situation that many children would not be able to understand, such as transforming into a pigeon. Despite this, readers are still rooting for him and his battle with anxiety. The book serves to normalize his emotions and provide guidance in how to manage it. He is a classic ‘good guy’, striving to create harmony with his bully and caring for his brother. Charlie is brave, compassionate, and has a unique personality.

This book does an excellent job of avoiding archetypes in its secondary characters. There are characters who are intelligent and scientifically minded, some who bring humor to the story, and an antagonist bully whose motivations readers can empathize with. Even adults such as teachers and parents can be antagonists, with the power to be “disappointed”. This is an important point to keep in mind when writing, as it will be discussed further later.

Children aged around 8 years old will likely find the characters in this story relatable and entertaining. It may even appeal to adult writers who embrace the childlike spirit!

It’s worth spending time getting to know your characters using something like this Ultimate Character BuilderThis worksheet provides hundreds of questions about your character which will require you to think deeply to come up with answers. It can be downloaded via email.

Something else I quite like to do (mainly because it is wonderfully fun procrastination) is to use personality tests. Try getting into the mindset of your characters – including secondary characters – and taking the House and Patronus quizzes on PottermoreYou may discover that your main character is a Slytherin wizard with a unique Patronus with wings, which could influence their behavior in your story.

Another great tool can be found at 16 Personalities. This asks you a lot of questions and gives you a Myers-Briggs personality typeAt the conclusion, there was a wealth of knowledge about how that particular individual would handle various matters such as relationships, family and challenging situations.

It’s worth spending some time doing some further reading on characterisation. Good places to start include learning about the theory of character development and spending some time making realistic antagonists,

When creating a children’s book, it is important to always keep one piece of advice in mind:

If the protagonists of your story are the focal point, then it is essential to make sure that they are the ones advancing the plot. Unnecessarily forcing them into a plot twist that contradicts all that they represent will not leave a good impression on readers.

This is why the primary step to writing a children’s book is to get to know your characters back to front and inside out as we discussed earlier. Once you have a good idea about who they are, you can start using this information to plot your story.

There are a number of ways you can plot a book, including methods like the Snowflake Method or using this guide on writing a plot outline.

For me, I like to start with something my character wants. This can be simple, like perhaps they are looking forward to an upcoming school trip. Or it can be much bigger than that – like perhaps they want to keep their family safe from being picked for The Hunger Games.

The following action is taken to prevent someone from achieving their goal; an obstacle is placed in their way. For instance, a person may be wrongly accused of misconduct in school and prohibited from attending a school trip. Alternatively, one’s sibling may be selected for The Hunger Games, prompting them to sacrifice themselves in order to spare their loved one from a bleak fate.

The character’s journey is full of action-packed incidents. For example, they attempt to sneak on the school bus, but end up boarding the wrong one and find themselves taking a trip to France. When they step off the bus for a break, it drives away without them. Later, they try to buy a baguette with their lunch money, only to have it snatched away by a passing dog, which they are afraid of.

Within this middle point are highs and lows. They meet friends and helpers along the way – usually children their own age, or animals. There might even be other grown-up helpers or antagonists (think about Haymitch and Crane in The Hunger Games)

At the midpoint of the narrative, the motivation of the character often shifts. For example, in a situation where a boy is on a school trip, he may now desire to find a way to return home. Similarly, in The Hunger Games, Katniss strives to survive.

The story moves towards its climax, where all the issues that have been raised throughout come to a resolution. Usually, there is a minor challenge that must be overcome before the grand finale – such as conquering a fear of dogs to help a friend in France, or triumphing over the other Careers in The Hunger Games. Afterwards, there is a small break in the action before the major climax is reached, whether that is simply asking for assistance to return home in France, or outsmarting the creators of The Hunger Games for survival.

In conclusion, we reach the resolution. All of the questions posed at the beginning of the story are answered, and any conflicts between characters are resolved. For example, the boy may return from France and ask his parents for a pet dog, or Katniss could come home to her family triumphant, leaving something unresolved for the second book in the series.

Even if you’re not traditionally a plotter, it is worth spending time thinking about the main beats in your story and how this relates to your character’s central journey. Thankfully, there’s loads of help for useless plotters (like me!). One useful blog post for further reading is this one on the seven basic plots.

There are also some brilliant masterclasses on the subject by the brilliant Jeremy Sheldon and this one from C M Taylor, all free as part of the Jericho Writers membership.

Now that the foundation of an engaging narrative has been laid, let’s discuss the manner in which this tale will be told.

When deciding which point of view to use for your book, it is important to stick with it. Commonly, third person (He/She/They) is used in books for younger readers while first person (I/We) is used in books for teens and young adults; however, this is not a hard and fast rule. It may be beneficial to try writing a scene in both POVs to see which one is the more natural fit for you and your story.

It is not common to find children’s books written in the second person point of view (POV). This is because it is challenging to execute effectively, and for the reader to connect with. However, anything is possible in the realm of children’s literature, so if you feel sure that this POV is right for your story then go ahead.

Whatever POV you choose, you must, must, MUST have a captivating voiceThe manner in which the tale is recounted plays an important role, referred to as ‘Voice’. To make the story convincing in first person, the reader needs to feel that the narrator is a child. With third person narration, this is less critical, yet it is still essential to have a strong connection between the audience and the character, and this is achieved by the language and sentence structure employed.

Rewriting in English: To begin, let’s use first person as an example as it is a bit simpler. To make the first person voice stand out, it can include any of the following elements:

• An accent or dialect (eg: Southern American).
• Short, matter-of-fact sentences, or long lines with little or no punctuation.
• Complex language, or simple words.
• A ‘Frame of Reference’ for understanding the world. For example, if your character loves painting, then you would expect their language to be a fountain of colour, using terms that painters would love.

My favourite article on voice is this one from Annabel Pitcher.

Developing a unique voice for your character is essential. Consider their origin, the language they use, their age, and the elements that make up their personality and interests. All of these factors should be taken into account when creating the voice. This will ensure that the character speaks in a manner that is distinct, making them stand out from the crowd.

This becomes a bit harder when writing in third person. You can use some of this to colour the voice of the narrator, which can be particularly important when writing for younger children, who need to be reading ‘simple’ words along with the protagonists. You can also give the narrator their own voice altogether, as done in The Book Thief and Charlie Changes into a Chicken.

Whatever you choose to do, ensure that it is striking and work on it until it feels like ‘you’. It took me around four books to realise what is ‘me’ about my writing – I think sometimes it is one of those things that you need to write to realise! You can find out more about finding your voice here.

So, now we come on to the setting of your book. There are no real rules here when it comes to setting. Books like The House With Chicken LegsThis book is set around the globe, featuring a dilapidated old home with the legs of a chicken. Despite this, readers will still find elements of the story that are relatable to their own lives, such as a sense of isolation from constantly being on the move, a parental figure, and a feeling of restlessness when confined inside the house.

Nowadays, it is common to find children’s books set in familiar surroundings, such as homes, schools, parks and after-school clubs. Numerous authors have successfully included a school in their stories, though there are some who struggle with this. If you find yourself in this group, there are alternative solutions, such as setting the book in the summer holidays or having protagonists over the age of sixteen.

For fantasy writers, it’s worth thinking about things like education and home-life when you are world-building, too. Your character may well be going on a huge quest that will take them to the ends of the earth, with no time for school. But even The Hunger Games had lessons in flashback.

As I have previously mentioned, there are not any specific regulations when it comes to writing children’s books. A myriad of situations can be explored through them. Nevertheless, it is important to consider the settings and how a young reader would identify them. If a school setting is chosen, then it is important to make sure it is accurately depicted!

Now it’s time to put pen to paper. There are numerous articles on the web with advice on writing, such as “write every day” and “don’t review your first draft”.

I don’t want to give you any specific instructions on how to write a book since everyone has their own unique way of doing it. Writing every day is great, but if you have other priorities such as your children to take care of, that is understandable and completely acceptable.

Rather than spending a long time perfecting a particular scene before progressing, it is better to move on; however, if a scene needs to be perfected for it to be satisfactory, then that is also an acceptable course of action.

Books aren’t made on the first draft. This is where you let your characters drive that plot, and sometimes they don’t really know what they are doing. Books are made in the next stage – the re-writing. Revising a piece of work to make it better is an important part of the writing process. Feedback from others is essential in order to make a piece of writing truly shine.

I no longer do ‘first drafts’, instead I refer to them as ‘ditch drafts’. This might sound like a lot of work, but whatever it takes to keep writing is the key.

I find it liberating to start with a blank page for re-writing. I copy the portions that I want to keep and then craft the rest from scratch. Having no words already present makes it easier to express my thoughts.

For editing, you can try these tips on self-editing your work, and an editor called Debi Alper runs a life-changing tutored course on self-editing here. You can also try getting feedback from other readers – either friends and family, or a writing group. Or perhaps through something like a Manuscript Assessment, which are particularly useful if you know something isn’t quite working, but you can’t quite pinpoint what. If you’re confused about the different types of editing, this post/p>

Books are made in the self-edit stageWriting original content is an essential part of making sure your work stands out. Crafting unique sentences and phrases takes effort and dedication, but the results are worth it. With a little creativity and hard work, you can create content that will really shine. Keep going until you’ve achieved something great – nothing less than your best will do when it comes to the next stage.

It is essential to take a moment to consider the frequent errors that could be made before thinking about submitting manuscripts to agents. Therefore, it is important to be aware of these potential mistakes.

The cry-baby little sister. The dysfunctional dad. There are certain stereotypes we take for granted. So think when you make decisions about every character in your novel – can they be subverted? Can you show that boys can cry too, and that dad’s can do all the housework? This goes for race, gender, sexuality, disability and pretty much everything else. Write characters, not clichés.

It is becoming more and more crucial that authors of children’s fiction correctly represent different experiences than their own. To make sure one is accurately portraying lives of race, gender, sexuality and disability, it is important to do extensive research, including conversing with people who live those experiences. Additionally, sensitivity readers are becoming a regular part of children’s publishing and authors can even hire one if they feel the need to double check their facts. However, it is important to recognize that no amount of research can replace the true experience and any feedback from readers should be taken into consideration rather than argued against.

Don’t let this put you off writing diverselyIt is essential for authors of children’s literature to consider the cultural backgrounds of their readers, while being sensitive in their approach.

If I had a dollar for every story I have read that begins in a similar way, I would be a wealthy writer. I advise against this approach.

Your opening scene should grab a reader by the hand and pull them immediately into the action.

Consider the catalyst that sets the story in motion and provide the reader with an understanding of the protagonist’s life prior to this occurrence. If the inciting incident is a gateway to an expansive journey, then portray the tranquil existence they once led and compare it to the grandiose one they will soon embark on. If the narrative is centered around the character’s increased courage, illustrate their initial fearfulness prior to their transformation.

Instead of beginning your story with an unrelated scene that may be more interesting than starting off with an ordinary day, consider starting with the main character waking up.

Your opening scene should exciteThis story introduces the reader to a world filled with possibilities. It begins with a young girl and her relationship with her mother. Through the narrative, the reader can expect to explore the depths of their bond, from moments of joy to those of conflict. No matter what the challenges may be, the reader will discover how these characters strive to understand one another and grow.

In fantasy writing, the beginning of the novel may start in an ordinary world before the introduction of magical elements. However, it is important to take time to introduce the characters and circumstances that will be relevant in the rest of the narrative.

Pick one, and stick to it (flashbacks permitting!). There’s nothing worse than reading a story that switches heads or propels us back and forth in time. Try reading this article on Psychic Distance/p>

When writing for children, it is best to keep the narrative straightforward and easy to follow. However, when writing for a teenage audience, it is important to take risks and be bold with the structure of the novel.

Young people are just as capable as adults when it comes to understanding a complex storyline!

I have seen a lot of writers, myself included, make this mistake. It can seem easier to just dump all of the details of a world or situation onto the page, but too much of this can drag down the action and make the writing seem amateur.

Try showing certain things within your writing whenever you can.Rather than simply writing that a character was angry, have them express their anger by shouting; this will give a more vivid depiction of their emotions.

For those of you who write picture books, it is important to remember that rhymes can be great when they work well. However, there is a tendency for writers to sacrifice the actual meaning of a sentence in order to make the words rhyme.

If you find it hard to keep the sentence structure you’ve chosen because of the rhymes, then why not try something else? You don’t even have to rhyme – some of my favorite picture books don’t utilize rhymes, but rely instead on the characters and the narrative.

Many novice authors tend to make this mistake. It seems like we are trying to impress people with our writing abilities, so we compose lengthy, smooth sentences that are filled with captivating brilliance.

Unfortunately, they also weigh down your words. Keep your sentences to the pointI guarantee that the metaphors and similes you use will be even more captivating as a consequence.

At times, we may attempt to demonstrate instead of simply describing something. This could result in a scene similar to this one:

“Why are you so upset Billy?” Mum said.

“Because my game was cancelled again, like it was last week.”

“Do you mean when you kicked the ball over the fence and it had to be called off?”

“It wasn’t my fault. A dog came onto the pitch.”

“And we all know you’re afraid of dogs./p>

This doesn’t feel very realistic, does it? That’s because people don’t tend to spend their time reiterating things they all already know. Avoid doing this in your own book – especially with parents and their children, which tends to be where the clunkiest dialogue comes into its own! Try these tips on writing realistic dialogue.

At the conclusion, we discover how dissatisfying it can be when a young protagonist receives no credit for their hard work and instead a grown-up swoops in to save the day. By allowing children to be the catalysts for their own success, we can empower them to feel as if they are capable of making a difference in the world. While it is understandable that a child may ask for adult help at times, it is crucial that they make the decision to overcome the challenge on their own.

The ultimate goal for any writer is to have their work published and made available to readers. In the case of a children’s book, this is especially true. The final step is to figure out how to make it happen.

This could be a whole other blog article in itself, and indeed there are plenty around. The more comprehensive overviews are things like this article on how to get a book published, or this one on how to find an agent.

However, the most important things to know are that you will nearly always need an agent to get a publisher.

Agents receive an average of two thousand submissions annually, yet they only have the capacity to select one or two manuscripts. Unfortunately, even out of these one or two manuscripts, a third never end up being published.

It’s possible that the odds of success may not be in your favor. But that’s alright, because the fact that you have read through this blog post implies that you are really serious about creating a fantastic children’s book. And only the greatest children’s books get published.

The other alternative to getting your book published is self-publishingIndependent publishing is gaining popularity as a primary option for many authors and is far from being a last resort. In fact, there are numerous authors who have successfully established successful careers through self-publishing.

It can be a little harder to self-publish in the world of children’s books. Illustrated books don’t always transfer to eBook easily and the market tends to favour print in general. However, there are authors who are doing really well in the YA genre fiction market, particularly for things like paranormal romance. If you are interested in this option, then you can find plenty of free information here.

Writing for children requires great commitment and effort, but it is the most rewarding experience (in my humble opinion!). Kids don’t just enjoy books, they adore them. Once you have released your book and receive feedback from readers, it makes every single step of the journey so precious.

I’ve mentioned the Jericho Writers membership a few times in this article, and it is something to think about if you are serious about carving a career for yourself as a children’s author. Reading and writing will take us so far, but sometimes we need a helping hand from the experts to create something at the level it needs to be to get published. You can find out more about that membership here.

I trust that this article was useful to you, and I wish you the best of luck and pleasure as you write your own children’s book.

You’ve got this.

Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles, take a look at our blog page.