PICTURE BOOKS

MIDDLE GRADE

YOUNG ADULT

Middle Grade, Young Adult

On the Road with Louise Hawes, a Q&A

Louise Hawes: I often spend months (sometimes years) filling a notebook with my character’s responses and thoughts before I begin writing an actual draft. That notebook is all in long-hand, as you know, and I don’t stop to edit or erase anything. My characters’ letters are in the first person, and result from a fluid, bodily connection from my heart to my hand to the page. In contrast, my draft will be typed on a laptop, the far less spontaneous product of me thinking and feeling my way into a story that features the character whose voice has already filled my notebook.

Filed in:

, , , , ,

READ POST

By setting up a compelling story question in the reader’s mind, and then increasing the stakes throughout the second act, Joanna Ho has crafted the perfect crisis with its excellent Irreconcilable Goods options.

READ POST

Filed in:

The more specific a story, the more universal it becomes. This is one of the most enduring bits of writing advice I have ever received. When we can write to one particular story, experience, character with specific detail and nuance, it makes it real. It feels true. There are always spaces to find our shared humanity, and this is only possible when we come to understand the richness around us.

READ POST

Filed in:

Sarah Aronson: “No two projects emerge the same way, but I will commit to this: my process is aggressively playful. It’s my policy NEVER to say no to an idea until I’ve tried it out.”

READ POST

Filed in:

Backstory is a necessary part of telling a story, but how much to include and what to leave out can be complicated. It’s rare in books for kids to have many pages of backstory in a row (though Crenshaw by Katherine Applegate does it with style). At KidLit Craft, we’ve explored backstory in many categories and genres. Here are our favorite posts about backstory.

READ POST

Filed in:

The 4th post in our “In Summary” series, collecting our best posts on point of view. These posts detail how different authors approach point of view, and tools they use to craft each point of view effectively.

READ POST

Filed in:

Our summer series, In Summary, draws together a number of posts from are archives on specific craft topics. Today’s posts offer strategies for how to capture your characters’ emotions, communicate them to your readers, and make your reader feel something too.

READ POST

Filed in:

Place matters. A story set in Paris can be transported to Atlanta, but the story fundamentally changes because of the geography, culture, language, idioms, weather, daylight hours, experience of time, and so much more. These posts explore how to establish settings and leverage them to enhance the reading experience.

READ POST

Filed in:

This summer, we’re introducing a new series called In Summary, where we collect up some of our favorite posts on different craft topics. Our first post is on BEGINNINGS. Beginnings give writers the opportunity to capture a reader’s attention, to draw them into the story, to give them a sense of the tone, style, and point of view, as well as whether the character is one they want to spend time with. Beginnings can be slow or fast, voicey or reflective, action-driven or character-driven. There’s no one right way to start a story. But there are more and less effective openings for each particular story. These posts will help you determine what choices you have as you write and revise your opening and prompt you to experiment. We hope you get inspired!

READ POST

Filed in:

cover of Love and Other Natural Disasters

Sugiura uses a combination of tropes to effectively push the romance forward while simultaneously creating seemingly insurmountable obstacles.

READ POST

Filed in: