Craft Articles

Join us in exploring others’ craft and building our own.

Here you will find explorations of mentor texts – articles that dive into specific craft elements in published books, interviews with authors, and tips on growing and improving as a writer.

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How to Write a Big Emotional Scene: Fault Lines by Nora Shalaway Carpenter
Young Adult Anne-Marie Strohman Young Adult Anne-Marie Strohman

How to Write a Big Emotional Scene: Fault Lines by Nora Shalaway Carpenter

Nora Shalaway Carpenter’s YA novel Fault Lines is a study in contrasts. It’s the story of Viv, a high school senior who lives in rural West Virginia, and Dex, a boy in her grade who moves to town. Viv lives a middle class life; Dex is only recently out of extreme poverty. Viv is anti-fracking; Dex’s mom works on the pipeline. But Viv and Dex are drawn to each other. This dual point of view novel barrels straight toward a huge conflict between these two characters. Carpenter handles the moment of greatest conflict with deft hands. Let’s take a look at how she helps readers connect with the characters’ emotions without getting maudlin.

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Crafting a Story of Contrasts: A Q&A with Nora Shalaway Carpenter, author of Fault Lines
Author Interview, Young Adult Anne-Marie Strohman Author Interview, Young Adult Anne-Marie Strohman

Crafting a Story of Contrasts: A Q&A with Nora Shalaway Carpenter, author of Fault Lines

I needed to write what felt right and natural to me, even though I was worried my agent and editor (and readers) might think it was weird. . . . I have always felt a deep, almost spiritual or magical connection with the natural world. That’s what was coming through in my writing.

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Creating a Character Readers Love: Luck of the Titanic by Stacey Lee
Young Adult Kristi Wright Young Adult Kristi Wright

Creating a Character Readers Love: Luck of the Titanic by Stacey Lee

Since Lee uses first-person point of view to tell her stories, it’s her main character’s voice that’s in the driver’s seat. Reading her novels is a masterclass in how to do first-person narration well. However, you can use these techniques with third-person and even with omniscient narration. It’s all about elevating your prose to do more than just tell the reader what’s happening.

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Making a Mystery that Mystifies: Part 2
Middle Grade, Young Adult Erin Nuttall Middle Grade, Young Adult Erin Nuttall

Making a Mystery that Mystifies: Part 2

Good mysteries are fun because they keep the reader guessing. One of the most important keys of writing a mystery is writing the story so the reader can try to solve it. Nothing’s more annoying than not being given clues to solve the mystery unless those clues are so obvious that there is no real mystery to be solved. The best way to achieve both goals is to give quality clues but constantly keep the reader guessing so they don’t recognize the clues for what they are.

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Middle Grade, Young Adult Anne-Marie Strohman Middle Grade, Young Adult Anne-Marie Strohman

Retro Post #3: Characters to Love–and Telling Them Apart–in THE PENDERWICKS

More important than their differences and easily distinguished voices, these sisters work together as a team. And arguably, it’s this aspect of the novel that makes it so appealing. We see their cohesiveness in the initial reminiscence of the opening, but we also see it through their interactions and their family codes and practices.

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