New! Analyze, Revise, and Polish Your Picture Book Manuscript with Alayne. A course and critique in one.

CURRENTLY, THIS COURSE IS ONLY INTENDED FOR PICTURE BOOK FICTION, WRITTEN IN CLASSIC STORYTELLING STRUCTURE, WRITTEN IN PROSE, AND NO LONGER THAN 800 WORDS. Note: if 800 words, I may encourage you to cut words and tighten the story to get it closer to 500 words. If you are in doubt about the story you want to work on, I’d be happy to look at the manuscript you have in mind for the course before you sign up.

You will receive

• The Art of Arc course
• All Alayne’s videos and webinars
• Weekly to biweekly zoom recordings with Alayne’s feedback for your story and your classmates’ stories
• Feedback from your classmates via a private Facebook group

Our analysis and your revisions will be based on the classic story/character arc structure. Though the course has much good material for you to read and consider on your own, our focus will be writing the beginning, middle, and ending. We will also cover some of the most common problems I see in manuscripts that I read or critique.

SUMMARY OF COURSE STRUCTURE AND SCHEDULE

Following is a short summary of how the course will be structured and scheduled. It will not be necessary for you to be available for live meetings, but you will need to get your assignments in on time. Detailed instructions will be supplied with the course materials. Schedule may vary slightly in unexpected circumstances.

Week One

• You will read lesson eight (Showing vs Telling)
• and read the first portion of lesson 10 (Other Common Issues)
• You will do homework.

Week Two

• You will read lessons one (Beginnings and Endings)
• and read lesson two (After the Hook)
• You will do the homework.
• You will read supplemental blog posts and watch a webinar

Week Three

• You will polish the beginning of your manuscript and submit it to Alayne by Friday

Week Four

• You will read lesson three (Story (Plot) Structure Overview)
• and read lesson four (Cause and Effect)
• and read lesson five (Episodic Stories)
• You will do the homework and watch some videos
• A video (or link) with a Alayne’s feedback for week three (your beginning) will be sent to your email by Sunday

Week Five

• You will read lesson six (The Middle – First, Second, and Third Attempts to Solve Problem) and do the homework
• You will read additional supplemental blog posts and watch a webinar

Week Six

• You will polish your manuscript’s middle
• You will revise your beginning
• and submit the work to Alayne by Friday

Week Seven

• You will read lesson seven (Darkest Moment, Climax, and Ending) and do homework
• You will read additional supplemental blog post, and possibly watch a webinar.
• A video (or link) with Alayne’s feedback for week six (your revised beginning and polished middle) will be sent to your email by Sunday

Week Eight

• You will polish your manuscript ending
• You will revise your beginning and middle
• and submit work to Alayne by Friday

Week Nine

• You get a breather
• A video (or link) with Alayne’s feedback for week eight will be sent to your email by Sunday

Week Ten

• You will do a final polish of your full manuscript
• and submit it to Alayne by Friday

Week Eleven

• You will receive your final feedback recording from Alayne by Sunday
• Alayne will be available via the private Facebook group to answer final questions until the following Sunday

Click the links to learn more about Art of Arc, Alayne’s critiques, and Alayne’s webinars.

Alayne’s bio:

Alayne Kay Christian is a multi-award-winning children’s book author and the creator and teacher of a picture book writing course Art of Arc. She is the former acquisitions editor and art director for Blue Whale Press. In addition, she shares her knowledge with writers through free and affordable webinars at Writing for Children Webinars. She has been a picture book and chapter book critique professional since 2014, and she worked as a 12 X 12 critique ninja for three years. Alayne spent fifteen years studying under some of the top names in children’s literature. Her published works include the Sienna, the Cowgirl Fairy chapter book series, and picture books–

BUTTERFLY KISSES FOR GRANDMA AND GRANDPA

AN OLD MAN AND HIS PENGUIN: HOW DINDIM MADE JOÃO PEREIRA DE SOUZA AN HONORARY PENGUIN

THE WEED THAT WOKE CHRISTMAS: THE MOSTLY TRUE TALE OF THE TOLEDO CHRISTMAS WEED

Alayne’s fourth picture book, FAITH BENEATH THE BRIDGE is planned for release in the fall of 2022. Born in the Rockies, raised in Chicago, and now a true-blue Texan, Alayne’s writing and book designs share her creative spirit and the kinship to nature and humanity that reside within her heart.

A COURSE AND CRITIQUE IN ONE FOR ONLY $155.00!

Enrollment will be open until December 17. Classes will begin January 10, 2022. 

If you already have the Art of Arc course, your cost will be $100.

If interested, please contact Alayne or leave a comment. A review of your manuscript will be required before enrollment.

Read Full Post »

EFFECTIVE ENDINGS BONUS POST #2: WHAT DOES YOUR MAIN CHARACTER BELIEVE?

The Art of Arc picture book writing course Cyber Monday sale ends on Sunday, December 5.

WHAT DOES YOUR MAIN CHARACTER BELIEVE? DISCOVERING THE TRUTH

by Alayne Kay Christian

On Wednesday, I shared a bonus post where I talked about your main character’s want vs need. If you missed it, click here. I want to expand on character’s motivation just a little bit. Another way to approach this is to ask yourself what your character believes in the beginning and what she believes in the end after she has experienced her story journey. Some people find their character’s beliefs by thinking in terms of lie and truth. What is the lie that your character believes in the beginning? And what is the truth that your character discovers in the end?

Sometimes it works to think of the lie as motivation (the fuel that moves the character forward through the story) and the truth as the story goal (the thing that creates change.)

So, following the want and need post, with the lie and truth method, there is only a small shift in the way one might look at the story they are writing. But I figure that small shift may be the thing that hits home for some writers. And once it hits home, they will find growth in their writing.

As I did in the last post, I challenge you to grab a stack of books and see if you can find stories that start with one belief (a lie) and end with a new belief (the truth). Very often, what the main character believes in the beginning of the story leads the character to the belief that transforms her by the end of the story. Just as with the want and need, knowing the truth/belief that will be revealed at the end before you start writing will be your guiding light in writing the rest of the story.

Think “before” and “after”. Who was your character when she first stepped over the inciting incident threshold into the story world? And who is she when he steps over his darkest moment into his turning point and new world?

Not all picture books have the lie and truth with a change in the character’s belief thing going on. But I urge you to analyze as many picture books as possible to see what you discover in this area. Also, consider analyzing your own stories to see if you already have it. If your story isn’t built around lie/truth/beliefs, offering that to your character might leave you surprised at the transformation you created in your own story.

FOLLOWING ARE SOME EXAMPLES

Using the same books as I did for want and need, and then adding some, I will talk about lie and truth.

NO BEARS ALLOWED by Lydia Lukidis and illustrated by Tara J. Hannon is a perfect example. In the beginning, Rabbit believes the lie that all bears are scary and will eat rabbits. In the end, Rabbit discovers the truth that some bears aren’t scary at all and they can actually make good friends.

NUGGET AND FANG by Tammi Sauer and illustrated by Michael Slack is similar to NO BEARS ALLOWED. In the beginning, Nugget believes the lie that he can no longer be friends with his best friend Fang because sharks are toothy and scary. And they eat minnows! In the end, Nugget discovers the truth. Sometimes minnows and sharks can be friends.

THE WEED THAT WOKE CHRISTMAS: THE MOSTLY TRUE TALE OF THE TOLEDO CHRISTMAS WEED written by me and illustrated by Polina Gortman.

In the beginning, Weed believes the lie that being seen or noticed will make him feel more important than an unseen weed. But would satisfying that belief have been enough to keep the story going in an active and compelling way? Would it have transformed Weed in any way on a deeper level by the end of the story? Or would he remain the same Weed that is just a little happier for a moment until he starts feeling “unseen” again? Would that have been the best message to offer readers? Would it have been the most satisfying ending? I think not.

What if, through his story journey Weed discovers the truth. It is much more satisfying to look outside himself and see others instead. In discovering the truth, Weed doesn’t only experience a change within himself; he effects positive change all around him. Even though Weed never gets to see it, in the end, he is more important than he ever imagined. And this is what the reader gets to see and understand. So, the lie that Weed believes fuels him to move forward in the story, but the truth that he discovers through his struggle to protect his belief in the lie is the real heart of the story.

BUTTERFLY KISSES FOR GRANDMA AND GRANDPA by me and illustrated by Joni Stringfield

In the beginning, the lie that Emily believes is the only way to feel close to her grandparents is to live closer to them, but since this isn’t possible, she must change in some way. She discovers the truth when she learns a way to feel close to her grandparents even when they are miles away from her.

PRINCESS IN TRAINING by Tammi Sauer, illustrated by Joe Berger

In the beginning, Princess Viola believes the lie that the only way to be a princess is to be a “proper” princess and the darling of the kingdom. But in order to experience real change she must discover the truth. The only way she can be Princess Viola is to be true to herself. There’s more than one way to be the darling of the kingdom. And once the truth is revealed, she can let go of the belief that created her struggles throughout the story.

JEREMY DRAWS A MONSTER by Peter McCarty

In the beginning, it’s not clear what Jeremy wants, but the illustration gives a sense that he wouldn’t mind going outside where all the other kids are. So, I’m going to guess that the lie he believes is that he is better off staying inside by himself. Then it seems he wants to keep the monster he draws happy. But even more important, he wants to get rid of the monster, which leads Jeremy outside. And though the story seems like it’s about imagination and fun and games, what it’s really about is Jeremy discovering the truth that there’s a world outside that just might be better than a safe and lonely room where imagination is his only friend.

The holiday season is a perfect time for penguins. An Old Man and His Penguin: How Dindim Made João Pereira de Souza an Honorary Penguin makes a beautiful Christmas gift for your favorite child or teacher, or to donate to your library, Toys for Tots or other “giving” opportunities and places. Below you will find a video about the true story followed by the book trailer.

Read Full Post »

BONUS POST EFFECTIVE ENDINGS, PLUS ‘TIS THE SEASON

CHRISTMAS GIFT AND STOCKING STUFFER IDEAS ABOVE!

I promised a bonus post for writing effective endings. So, here it is. If you missed the Kid-Lit Writing Wisdom team’s free three-part mini-course, click on the following links Part 1, part 2, part 3.

YOU JUST MIGHT GET WHAT YOU NEED

by Alayne Kay Christian

As authors, teachers, and critique writers, we talk a lot about what the main character wants. We ask, “What is his goal or desire?” And sometimes, we think about what he needs that drives the story. I challenge you to grab a stack of books and see if you can find stories that have both a want and a need. Very often, what the main character thinks he wants in the beginning of the story isn’t what he needs to transform by the end of the story. But his “want” is what motivates him to take action and move forward in the story. And most often, the main character nor the reader really knows what that need is until the turning point in the story. But as a writer, it is super helpful to know the need before you start writing your story. Knowing the need that will be revealed in the end will be your guiding light in writing the rest of the story.

Your character’s want is usually something he is seeking externally. And while the need is usually shown in the end as something external/physical, it stems from something internal. This is where what I call the turning point comes in. He has a realization, change in thinking, change of heart—whatever it might be—that causes him to think differently about his approach to things. Then he takes action on that new way of thinking. Once the character gets what he needs, he is a changed person who likely views his problem/goal or the world around him a little differently from that point on.

Think “before” and “after.” Who was your character when he first stepped over the inciting incident threshold into the story world? And who is he when he steps over his darkest moment into his turning point and new world? How has he changed in the end?

Sometimes it works to think of “want” as motivation (the fuel that moves the character forward through the story) and the “need” as the true story goal (the thing that creates change.)

Not all picture books have this “want” “need” thing going on. But I urge you to analyze as many picture books as possible to see what you discover in this area. Also, consider analyzing your own stories to see if you already have it. If your story only has a “want,” might it strengthen your story to give your character a need as well?

FOLLOWING ARE SOME EXAMPLES

THE WEED THAT WOKE CHRISTMAS: THE MOSTLY TRUE TALE OF THE TOLEDO CHRISTMAS WEED written by Alayne Kay Christian and illustrated by Polina Gortman.

In the beginning, Weed wants nothing more than to be seen or noticed. But would achieving that in the end have transformed him in any way on a deeper level? Or would he remain the same Weed that is just a little happier for a moment until he starts feeling “unseen” again? Would that have been the best message to offer readers? Would it have been the most satisfying ending? I think not.

What if, what Weed needs is to look outside himself and see others instead? In doing so, Weed doesn’t only experience a change within himself; he effects positive change all around him. So, his want fuels him to move forward in the story, but the need that he discovers through his struggle to get what he wants is the real heart of the story.

BUTTERFLY KISSES FOR GRANDMA AND GRANDPA written by Alayne Kay Christian and illustrated by Joni Stringfield

In the beginning, Emily wants to live closer to her grandparents, but since this isn’t possible, she must change in some way. She needs a way to feel close to her grandparents even when they are miles away from her.

PRINCESS IN TRAINING by Tammi Sauer, illustrated by Joe Berger

In the beginning, Princess Viola wants to be a proper princess and the darling of the kingdom. But what she needs in order to experience real change in the end is to be true to herself. And once this need is revealed, her want is satisfied as well (but not exactly how she expected it).

MOSTLY MONSTERLY by Tammi Sauer, illustrated by Scott Magoon

In the beginning, Bernadette wants to make friends and fit in. But what she needs is to be true to herself in a way that also gets her what she wants. And once this need is revealed, her want is satisfied as well.

JEREMY DRAWS A MONSTER by Peter McCarty

In the beginning, it’s not clear what Jeremy wants, but the illustration gives a sense that he wouldn’t mind going outside where all the other kids are. Then it seems he wants to keep the monster he draws happy. But, even more important, to get rid of the monster. And though the story seems like it’s about imagination and fun and games, what it’s really about is Jeremy’s need to leave his apartment/room and make friends. And everything that happens in the story, eventually leads Jeremy to what he needs.

SAM AND EVA by Debbie Ridpath Ohi

In the beginning, Sam wants to draw solo. Eva wants to draw with him. But until they get what they need, which is to cooperate as a team, drawing isn’t quite what they wish for.

Even though, THE WEED THAT WOKE CHRISTMAS: THE MOSTLY TRUE TALE OF THE TOLDEDO CHRISTMAS WEED is a great book all year round, I learned that people tend to buy it at Christmastime, which means I only benefit from sales once a year (if I’m lucky). It’s currently on sale at Amazon for 43% off. Following is a two-minute YouTube video about the inspiring true story of the Toledo Christmas Weed, which is followed by the book trailer. A lovely Christmas gift for your favorite child or teacher, or to donate to your library. I give books to Toys for Tots. How many copies could you buy to donate at this great sale price?

Read Full Post »

KID-LIT WRITING WISDOM PRESENTS HOW TO WRITE EFFECTIVE AND SATISFYING STORY ENDINGS (Part 3 of 3)

For our final “Wisdom” topic of the year, I asked the Kid-Lit Writing Wisdom team for their thoughts on writing effective and satisfying picture book endings. And with all the wisdom combined, we ended up with another great free course in picture book writing (although much of our wisdom can be applied to longer works). Our thoughts and tips on this topic have been presented in three parts. Plus, I will be offering a bonus post, so wait there’s more! If you missed parts one and two click here for part one and here for part two.  You can find a list of links to all of our 2021 Kid-Lit Writing Wisdom posts at the end of this post.

Today’s wisdom comes from Dawn Prochovnic, Marcie Flinchum Atkins, Michelle Nott, and Pippa Chorley.

MIRROR THE BEGINNING WITH THE ENDING, BUT WITH CHANGE

by Marcie Flinchum Atkins

Many times endings harken back to the beginnings–often with a change. This can be true even in nonfiction.

Runaway: The Daring Escape of Ona Judge by Ray Shepard, illustrated by Keith Mallett

In this book, the narrator is talking directly to Ona Judge, “Why you run away Ona Judge?” Shepard begins Ona Judge’s journey with a question. In the end, the narrator gives her a charge: “Then run, Ona Judge, run”. The character has changed.

The Floating Field: How a Group of Thai Boys Built Their Own Soccer Field by Scott Riley, illustrated by Nguyen Quang and Kim Lien

In the beginning, we are introduced to a group of boys and their village on stilts on the water in the southern part of Thailand. In the end, the final image is of the boys retuning home after playing football (soccer). We return to the image of the village on stilts. The boys lives are different, but they still return home.

Wait, Rest, Pause: Dormancy in Nature by Marcie Flinchum Atkins

In my book, I begin by talking to the reader asking them to imagine what it might be like to go dormant. The ending ends the dormancy and begins to stir.

As a writer, can you find a way to mirror the ending with the beginning, but with a change?

QUESTIONS TO PONDER ABOUT YOUR STORY’S ENDING

by Pippa Chorley

Endings are part of your main character’s emotional journey and integral to the arc of any good story. Readers want to feel satisfied at when they close the last page. They want to feel that the ending is justified. They want all the loose ends tied up neatly with a bow on top!

It can really help to know your ending ahead of writing your book so that you make your arc as strong as possible and ensure everything that happens on the journey of the main character leads directly towards the ending.

If you are struggling with your story, ask yourself a few important questions:

Does your main character have emotional closure at the end? Is your main character better off at the end of the story than they were at the start, have they learnt something along the way?

In my picture book Stuffed!, a story about the nighttime adventures and arguments of Sam’s stuffed toys, I needed to make sure that I had emotional closure for both Sam and her toys at the end of the story. It begins with the toys arguing in the night and Sam waking up to find them strewn about her bedroom floor looking lost and alone the next morning. It was important when writing the ending that I addressed both Sam’s desires to help her toys and settled the toys arguments as well. I needed all the characters pulled together at the end of the story to make it feel satisfying and tie up all loose ends. Without that my main characters and my readers would not have had the emotional closure needed for a satisfying book.

Does your ending use a repeated phrase or end with similar lines to the very beginning? Does the tone of your ending match the beginning of the story?

I was very careful when writing my new picture book Out of the Box, that the story should come full circle. It begins with great excitement at the arrival of Granny. Sam’s birthday is only three sleeps away and she is hoping for all sorts of grand, expensive presents from her Granny. When things don’t turn out quite as she expected the story takes us on an emotional and imaginative journey with Sam and eventually back to Granny again at the end. Over the course of the story Sam learns and grows but it was important to me to bring her back full circle at the end, to her Granny, equally full of excitement. If I hadn’t done that then Granny would have been obsolete, and there is so much to love about Granny the story would have suffered for it. The tone of excitement at the start matches with the tone of excitement at the end as Sam has learnt an important lesson in the story – that our imaginations can give us just as much of an adventure than a toy.

Can you add a twist at the end to make it more of a surprise?

When I wrote Counting Sheep, a picture book about a little sheep who couldn’t jump over the fence, I came up with lots of possible ideas for the ending. At storytelling sessions, when I ask children how they think the problem should be resolved they nearly always say that the other sheep could help lift him over. It’s a lovely idea and one that crossed my mind too when writing the book, but it’s also very predictable. In the end I decided to write an ending that no one else ever thinks of. It is always a surprise and always a wow, why didn’t I think of that moment, for children as a result. I am ever grateful when I read this story to children to have written a surprise ending.

Hope these examples and questions help you make your endings super satisfying! Happy writing and editing everyone J

MAKE YOUR READER WANT TO RELIVE THE STORY: NOW THAT’S AN ENDING!

by Michelle Nott

A good ending will make us want to relive a story, to close a book only to open it back up, even when we know how it will end.

As we know with picture books and reading to young children, that’s just what we want to happen, to read the story over and over again. So that ending must be good! But strong endings need to conclude an already strong story with strong characters that a child wants to experience over and over again even, and especially, when they already know the ending.

As a freelance editor, I have read lots of manuscripts. Some stories seem to be going fine and then the ending just comes and goes. No hurrah, no tears, no laugh. When that happens, I advise the writer to review what events are leading to the ending. Often, not enough has happened to logically and smoothly arrive at the ending they want. It may be a lovely or funny or inspiring last sentence, but there is a missing link between the middle and end which compromises the final emotion.

For example, in my early reader Dragon Amy’s Flames, she wants to win a prize by hitting the bullseye at the fair. But she has a habit of burning up that and other toys whenever she feels frustrated. And so, she has to learn to control her temper. The reader sees she is trying hard and making progress calming down and staying focused in different scenarios. By this point, the reader knows she could probably do it. And so, I could have ended the story with her finally hitting the bullseye. The story had logically led to that conclusion. But instead, the next day she asks her brother if she can practice with him. He agrees but only if she controls her flames. That could have also been a logical place to end, on an image of her succeeding. But it would not have been as satisfying as how it did truly end.

I added one more moment of suspense and doubt: “Sizzle, a spark flew too high. Fizzle, a flame fell too low. And then … Amy’s scales quivered. Her skin shriveled. Her nostrils flared…ROAR [and this is when something previously would have been engulfed in flames]… and ZING!”

The last illustration shows she has hit the bullseye perfectly. Her family (and the reader) cheers.

If your ending looks and sounds like it has all the elements of a strong and satisfying ending but it’s not getting the emotion for which you’re striving, look at the lines between your middle and end. Is there a space waiting to be filled? It may just need a sentence or two. It may need an illustration note to create just enough of a pause. Maybe you could take a refrain and twist it just one more time.

As they say, “Mind the Gap!” and your story will smoothly get to where it needs to go.

WRAP THINGS UP BUT KEEP THEM WONDERING

by Dawn Prochovnic

When I reflect on story endings that are especially satisfying to me, the one constant is that I find myself thinking about the story long after it has ended. For example, when a television show has me hooked, I’m sure to be thinking about and/or talking about “last night’s episode” when I wake up the next morning. Likewise, the movies and novels that I count amongst my favorites are the ones I’m still reflecting on long after I’ve finished them.

Not surprisingly, one of my favorite ways to end a picture book is with an ending that wraps things up in a satisfying way, but that also invites the reader to ponder what happens next.

One of my first books, The Nest Where I Like to Rest, offers an example. It is a cumulative story about a mama hen who wants to rest while she waits for her nest of eggs to hatch. The story begins:

This is the nest where I like to rest.

These are the eggs I carefully laid to hatch in the nest where I like to rest.

But how can I rest with a rat near my nest?

Throughout the story, mama hen’s nest is disrupted again and again by various characters. Finally, at the end, mama hen successfully hatches her eggs. “Hooray!” you might say! But not so fast. The last line in the story reads:

But how can I rest with these chicks in my nest?

This “second ending” invites readers to wonder, “What happens next?” What will those chicks be up to? Will mama hen EVER get any rest? (parents everywhere know the answer to that!).

The ending of my most recent book, Lucy’s Blooms, provides a similar invitation for readers to consider what happens next. In the story, Lucy nurtures a garden of blooms she finds in the meadow behind Gram’s house, with a goal of entering the town’s gardening contest. Throughout the story, Lucy’s blooms grow and change, but Lucy’s love for them remains strong—even when Lucy doesn’t get what she hopes for. In the end, Lucy and her blooms return to Gram’s open and loving arms. The lines on the next-to-last spread read:

“C’mon,” Lucy said with a smile.

“I’ll race you back to Gram’s.”

She took hold of her wagon and ran.

And the last spread reads (with a fabulous illustration to match):

“A fantastic flurry of silky seeds swirled and twirled behind her.”

This “ second ending” invites readers to wonder, “What will happen to all of those silky seeds? How will Gram and Lucy spend their afternoon? Their next week? Their next summer?”

One of the things I love most about books with this type of ending is the opportunity to ask young readers these types of questions when the book is shared. Their ideas for how a story might continue beyond the last page never cease to amaze me!

WAIT THERE’S MORE!

FOLLOW MY BLOG OR KEEP A CLOSE EYE OUT FOR MY BONUS POST ON ENDINGS.

FOLLOWING ARE SOME LINKS TO OTHER KID-LIT WRITING WISDOM POSTS

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 1 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 3 of 3) 

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1, part 2, part 3)

WHY KID-LIT WRITERS SHOULD READ MENTOR TEXTS AND HOW TO GET THE MOST OUT OF READING THEM PART ONE and PART TWO

THE MOST IMPORTANT LESSONS LEARNED IN MY PUBLICATION JOURNEY PART ONE and PART TWO

LONG AND WINDING ROAD: PUBLICATION DOESN’T (USUALLY) HAPPEN OVERNIGHT PART ONE, PART TWO, and PART THREE

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

Read Full Post »

KID-LIT WRITING WISDOM PRESENTS HOW TO WRITE EFFECTIVE AND SATISFYING STORY ENDINGS (Part 2 of 3)

For our final “Wisdom” topic of the year, I asked the Kid-Lit Writing Wisdom team for their thoughts on writing effective and satisfying picture book endings. And with all the wisdom combined, we ended up with another great free course in picture book writing (although much of our wisdom can be applied to longer works). Our thoughts and tips on this topic will be presented in three parts, so keep an eye out for more. If you missed part one, click here.  You can find a list of links to all of our 2021 Kid-Lit Writing Wisdom posts at the end of this post.

Today’s wisdom comes from Laura Gehl, Ellen Leventhal, Vivian Kirkfield, and Rob Sanders.

ENDING WITH A BONUS

by Laura Gehl

One of my favorite types of ending is when the main conflict is resolved before the final page, allowing the last spread or two to add a twist of humor or an extra layer to the story.

For example, in I Got a Chicken For My Birthday, by me and Sarah Horne, Ana is initially upset about getting a chicken as a gift from her grandmother, instead of the amusement park tickets that she had requested. This conflict is resolved when the chicken builds Ana a backyard amusement park and Ana realizes Abuela Lola knew exactly what she was doing. But the wonderful spread with Ana riding in eggshell-shaped roller coaster cars with Abuela Lola is not the end of the book! Afterward, Ana says, “Next year, I’m asking Abuela Lola for a trip to the moon!” and we see the chicken beginning to design a rocket ship.

In My Pillow Keeps Moving, by me and Christopher Weyant, a lonely man keeps accidentally purchasing a dog—first as a pillow, then as a footrest, and finally as a coat. The main conflict is resolved when the man decides to adopt the dog. But then the story continues with the dog winking at her feline friend, the man accidentally purchasing the cat as a hat, and all three becoming a happy family on the final page.

In Judge Juliette, by me and Mari Lobo, Judge Juliette has to rule on whether her family should get a dog (like her mom wants) or a cat (as her dad hopes). The main conflict is resolved when Juliette discovers she must recuse herself, since judges aren’t allowed to rule in cases involving family members. But the book ends on a funny twist when Juliette hands her courtroom and gavel over to a friend and takes on the role of lawyer instead. Juliette says she would like to make a case for getting a dog AND a cat…AND (on the final page!)…a boa constrictor.

These endings with a little extra twist are favorites for me as a reader (This Is Not My Hat by John Klassen is a great example) and as a writer. I love how this type of ending gives the reader the satisfaction of “Hooray, the conflict is resolved!” and then a bonus laugh, or an extra “Wow, I wasn’t expecting that!”

WHAT KIND OF ENDING WILL SET YOUR BOOK APART FROM THE REST?

by Ellen Leventhal

There are many different types of endings, all satisfying in their own way. I love endings with a twist, a surprise, a laugh, and even with an “aww.” Of course, your conclusion needs to stay in line with the rest of the book. You wouldn’t want a serious, quiet book to end with a big guffaw. A smile, yes, but probably not a huge laugh. Humorous books can definitely have an “aww” ending, but there needs to be a lead-up to it. It’s important to keep the character of your book throughout. When a funny book ends on an “aww” note, a fun thing to do is to have a humorous page turn that would tie it all together. It’s certainly not necessary, but it’s sometimes fun. I’m currently working on two humorous books that end with a sweet solution to the problem. However, the last page turns are both wordless spreads that tell the reader that something funny is about to happen.

I knew exactly what ending I wanted in A Flood of Kindness. It ends with an “aww” moment, but it wasn’t surprising. Readers could guess it may happen, but still, when it did, it was satisfying. (At least reviews say it is, and who am I to argue?) As an aside, illustrator Blythe Russo evoked such emotion that the reader roots for this main character from the minute they see her.

Lola Can’t Leap (by Noelle Shawa and me) has a surprise ending in the fact that the main character does NOT reach her goal, but she discovers something else. And then, Noelle made it even more surprising on the last page turn with her art.

I love circular stories where the end takes the reader back to the beginning of the story. There are so many wonderful circular stories. I recently re-read Maria Gianferrari and Bagram Ibatoulline’s Coyote Moon, which starts with Moonrise, takes us through the night, and ends with the coyote family waiting for the moon to wake them again.

Don’t Eat the Bluebonnets (written by Ellen Rothberg and me, illustrated by Joel Cook) is circular in the sense that when reading aloud, children cheer “Don’t eat the bluebonnets!” throughout the book. The last line invites them to echo it one last time.

Play around and see what will set YOUR book apart. And mostly, enjoy the process. Happy Writing!

ENDINGS THAT WRAP THINGS UP IN A NICE PACKAGE OF WORDS

by Vivian Kirkfield

Early on in my writing life, I attended a conference and heard Candace Fleming speak about picture book endings – and what she said made a huge impression on me. She told us that when a reader gets to the end of the book, they should be saying one of three things: HAHAHAHA, AHA! or AWWW.

Why, you ask? Because the emotional connection between the reader and the story is so very important. And, if the reader laughs at the end because the story was funny, or is surprised because there was a twist, or if the reader’s heart is touched, the author has succeeded.

For me, when I read the last lines of a story, I love to get a chill down my spine or a warm fuzzy feeling. For me, a ‘satisfying ending’ is an ending that tugs at my heart…it’s an ending that fulfills the promise of the opening lines of the story. Here are a couple of examples:

SWEET DREAMS, SARAH:

Opening Lines: Before the Civil War, Sarah obeyed her owner.

                          Hurry up!

                          Eyes down!

                          Don’t speak!

                          Slaves were property–like a cow, or plow, or the cotton that grew in the master’s fields.

Satisfying Ending: Sarah took a slow deep breath.

                              She slid out the papers.

                               She read out loud!

                               S.E. Goode

                                Cabinet Bed

                                No. 322,177. Patented July 14, 1885

                               Staring at her name in print, Sarah proudly traced each letter. Her idea, her invention, her name in history.

                               She had built more than a piece of furniture.

                               She had built a life far away from slavery, a life where her sweet dreams could come true.

MOON MAN: Robert Goddard and the Liquid Fuel-Propelled Rocket  (One of the stories in FROM HERE TO THERE)

Opening Lines: Sometimes Robert Goddard’s curiosity was so intense, it made things explode.

Satisfying Ending: Robert Goddard ushered in the era of space flight with the world’s first liquid fuel-propelled rocket. Today’s space program is built on the discoveries he made, and for some of us, that trip to Mars young Robert dreamed about up in the cherry tree may one day become a reality.

ALL ABOARD: George Stephenson and the Steam Locomotive (One of the stories in FROM HERE TO THERE)

Opening Lines: Click! Clunk! Hiss!                   

Deep underground, in a maze of pitch-black tunnels, young George Stephenson hefted chunks of coal.

Satisfying Ending: The railway revolution had begun, and George Stephenson had led the charge, changing the landscape not only of England, but of the entire world.

One of the best ways to learn how to write satisfying endings is to read LOTS of them. Pick out your favorite picture books and use them as mentor texts. Examine the endings and observe how you feel when you read them. And then, go bravely into the morning or the night or whenever you do your best writing and play with those words until YOUR satisfying ending emerges!

MOVING FROM TROPES TO TREMENDOUS ENDINGS

by Rob Sanders

Sometimes to understand what something is, it’s helpful to know what it isn’t. Endings we grew up hearing or that were frequently used tropes, are a good place to look for what not to do.

That’s all folks. Bug’s Bunny may have been able to get away with his famous line to end Saturday morning cartoons, but as writers it’s not that easy. A story that just ends—without an ending—one that just stops without providing resolution or emotional climax, does not actually have an ending. Story doesn’t just end. It builds to and ending.

The End. As I always told student writers, “If you have to write THE END, then you haven’t written an ending.” The ending (even in nonfiction) is the conclusion of the plot. After the exposition, inciting incident, rising action, climax, and falling action, the ending brings the reader home and helps to create a feeling of completeness or wholeness for the piece.

They lived happily ever after. Oh, that the life really always ended with happily ever after. While most picture books do end happily or hopefully, the ending is really the place the author can create a variety of emotional impacts. In his pyramid plot structure, Freytag called this the denouement. Some define denouement as the emotional climax of the story. This emotional impact may affect the reader in a variety of ways. It may bring a smile, a tear, a cheer, a spine-tingling chill, an ah-h-h-h, and more.

And that’s the way it was. Walter Cronkite ended his CBS evening news broadcasts every night by saying, “And that’s the way it was.” Writers sometimes are tempted to conclude a story by recapping everything that has gone before. In this situation, the writer tries to ensure that the reader doesn’t miss out on anything important that’s come before. While the intention is good and while the approach might work on occasion, it also discredits readers and their ability to think, remember, and participate in the story.

The moral of the story. I grew up with books that made sure I understood the lesson or moral once I’d finished reading. Today, “The moral of the story,” should be saved for folktales. Yes, many current picture books do have a lesson or theme, but a skillfully written manuscript reveals that lesson or theme and a wise writer trusts the reader to make inferences to uncover the lesson or theme. (By the way, it’s ok if readers arrive different at different conclusions. It’s the magic of storytelling—each reader or listener can their own ideas about the story).

So, how do you end a picture book manuscript? Remember these tips:

1. Don’t rely on tropes.
2. Build to an ending.
3. Make sure the ending completes the plot.
4. Create an emotional impact.
5. Trust your readers.

Allow readers to make their own inferences and to draw their own conclusions.

MORE WISDOM ON THE WAY!

Follow my blog or keep a close eye out because we have more “writing endings” wisdom coming from Dawn Prochovnic, Marcie Flinchum Atkins, Michelle Nott, and Pippa Chorley.

FOLLOWING ARE SOME LINKS TO OTHER KID-LIT WRITING WISDOM POSTS

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 1 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 3 of 3) 

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1, part 2, part 3)

WHY KID-LIT WRITERS SHOULD READ MENTOR TEXTS AND HOW TO GET THE MOST OUT OF READING THEM PART ONE and PART TWO

THE MOST IMPORTANT LESSONS LEARNED IN MY PUBLICATION JOURNEY PART ONE and PART TWO

LONG AND WINDING ROAD: PUBLICATION DOESN’T (USUALLY) HAPPEN OVERNIGHT PART ONE, PART TWO, and PART THREE

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

FOLLOWING ARE SOME LINKS TO OTHER KID-LIT WRITING WISDOM POSTS

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 1 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 3 of 3) 

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1, part 2, part 3)

WHY KID-LIT WRITERS SHOULD READ MENTOR TEXTS AND HOW TO GET THE MOST OUT OF READING THEM PART ONE and PART TWO

THE MOST IMPORTANT LESSONS LEARNED IN MY PUBLICATION JOURNEY PART ONE and PART TWO

LONG AND WINDING ROAD: PUBLICATION DOESN’T (USUALLY) HAPPEN OVERNIGHT PART ONE, PART TWO, and PART THREE

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

Read Full Post »

KID-LIT WRITING WISDOM PRESENTS HOW TO WRITE EFFECTIVE AND SATISFYING STORY ENDINGS (Part 1 of 3)

For our final “Wisdom” topic of the year, I asked the Kid-Lit Writing Wisdom team for their thoughts on writing effective and satisfying picture book endings. And with all the wisdom combined, we ended up with another great free course in picture book writing (although much of our wisdom can be applied to longer works). Our thoughts and tips on this topic will be presented in three parts, so keep an eye out for more. Before, I move on to our wisdom, we have some good news and announcements to celebrate. You can find a list of links to all of our 2021 Kid-Lit Writing Wisdom posts at the end of this post.

Pippa Chorley’s latest picture book OUT OF THE BOX (illustrated by Danny Deeptown and published by Marshall Cavendish) will be coming into the world in mid-November. You can find some more info on KIDLIT411 here. CONGRATULATIONS!

Laura Gehl’s board book ODD BEASTS: Meet Nature’s Weirdest Animals (illustrated by Gareth Lucas, published by Abrams) was born on November 2. HAPPY BELATED BOOK BIRTHDAY!

Laura Gehl’s book WHO IS A SCIENTIST? received a blue star review from Kirkus!

“Convincing evidence that readers, too, might become scientists.” – Kirkus Reviews

You can read the whole review here.

Rob Sanders’ recently released picture book STITCH BY STITCH: CLEVE JONES AND THE AIDS MEMORIAL QUILT received a blue star review from Kirkus and a starred review from Publishers Weekly! This baby is off to a good start! CONGRATULATIONS!

“Storytelling and history, beautifully stitched together.” Kirkus Reviews

Read the whole Kirkus review here.

Read the whole PW review here.

To kick off our series on writing effective and satisfying endings, I will share an excerpt from Art of Arc that I think is an important tip.

“From the beginning and all the way through the story, the destination is the ending. Therefore, everything you write should relate to the ending. Every word, sentence, and scene should relate to the ending. And the ending should relate to the beginning.”

COMMON MISTAKES WITH ENDINGS

by Alayne Kay Christian

One thing that I often see in picture books that I edit or critique is the last lines feature a character that is not the main character. In my opinion, the main character should always be the one under the spotlight at the end of his/her story.

Another mistake that I often see is bringing a new character into the story toward the ending for no other reason than to facilitate resolving the story.

Allowing the main character to be a victim of circumstances instead of the master of his destiny or allowing the main character to be the recipient of a sheer-luck induced or happenstance resolution that comes way too easily are common issues in stories I critique.

Similar to the above, having someone else solve the main character’s problem usually diminishes and destroys your main character’s role as the hero of his story. There are stories, where the main character seeks out or asks for help. However, I prefer stories where main characters make their own choices and decisions and then take action based on those decisions. I’ve seen older or wiser character’s help guide the main character toward the direction of the final action and discovery. I’m sorry, I can’t think of any books off hand. But if you study picture books, you will find the older or wiser rescuer or guide seldom shows up, and if one does, the main character remains the star/hero of the story in the end.

Ahh, I just thought of two books that have someone help solve the problem. They are both older books, but good examples of allowing an older/wiser person to help while still keeping the main character the star.

In MADDI’S FRIGE by Lois Brandt, the mom eventually steps in to help. However, only because the main character decided to tell her mom about her problem. But in the end, the main character and her friend Maddi are the stars in the spotlight. Change in the story is a result from choices and decisions that the main character makes.

In THE LADY IN THE BOX by Ann McGovern, it can almost feel like the mom hijacks the story once the kids decide to tell the mom about their problem. However, the reason this works is the story always remains told from the main character’s point of view. And again, she is the star in the spotlight at the end of the story. Change in the story is a result from choices and decisions that the main character makes.

In both of the above examples, the story topic included a problem that was too big for a picture-book age child to handle by herself. For either character to successfully handle these tough situations would have been unrealistic.

Now, I’m going to move away from common mistakes and move on to different types of picture book endings. Many of our wise authors talk about the same topic, I’m just saying it in a different way because I think it’s valuable information.

SOME TYPES OF PICTURE BOOK ENDINGS

As some of our wise authors have stated there are at least two kinds of endings. The “Aww” ending, which is usually an emotionally touching ending, and the “Aha!” ending, which usually leads the reader to a surprise or some sort of unexpected realization. Then there is the “Wow!” ending which is when the ending is so unexpected that it changes the way you view the whole story. There is sometimes a fine line between a wow ending and an aha ending. The other ending, which is also a surprise, is the funny (Ha-ha) ending where the payoff is so huge or funny that the reader can’t stop thinking about it and wants to read it over and over. All the endings are kind of closely related because they all have elements of surprise mixed with satisfaction. And they all touch the reader on an emotional level. So, that tells me that emotion, surprise, and satisfaction are key factors in creating a strong and effective ending.

The “aha” ending feels like a surprise but it also feels inevitable—but not predictable. It’s kind of like, “I can’t believe I didn’t see that coming.” Or maybe even a “Wait. What?” When it comes to aha and wow endings, there is little better than giving our readers a moment where they suddenly see or understand the story in a new or clearer way. If our story ending causes the reader to pause and reevaluate the story, we’ve done a good job.

With the “aww” ending, the reader is satisfied and touched emotionally because after a “try and fail” arc struggle, the main character’s emotional needs are finally met. This doesn’t always come from the character getting what he wants. Sometimes, it’s from getting what he needs. With the aww ending, the reader usually has a sense of empathy with the character, and this empathy generally started earlier in the story via the emotional roller coaster ride, but then that final moment of empathy is where the reader gains a sense of satisfaction. “Oh good. All is well.” This kind of story ending leaves the reader feeling comforted with a strong sense of closure, which stems from the discomfort the character experiences earlier in the story (the emotional roller coaster ride).

As you’ll see many of our wise author’s mention offering a surprise twist at the end of a story. This will give the reader one last boost before closing the story. And the surprise twist is a great tool for setting up aww, aha, wow, or ha-ha endings.

Joyce Wan says, “When a book takes you where you didn’t expect to go, that makes the trip all the more exciting and fun. When done well, an unpredictable twist can turn a good book into a classic and is often what makes repeated re-readings a pleasure. In subsequent readings, the reader enjoys being in the know and re-reading a book when you know what’s coming can be enjoyable in its own right too.”

CIRCLE BACK PICTURE BOOK ENDINGS

by Melissa Stoller

I love writing picture book endings that circle back to the beginning of the story. The endings I craft often refer back to the opening lines, and then add something more to show that the main character has grown and changed throughout the pages of the book.

For example, in SCARLET’S MAGIC PAINTBRUSH (illustrated by Sandie Sonke)

Opening lines: One day, Scarlet found a magic paintbrush and everything changed.

Ending lines: With her own magic, she painted what she saw in her heart . . . Scarlet’s masterpiece.

Readers follow Scarlet as she learns to let go of perfection and find her own magical creativity.

In PLANTING FRIENDSHIP: PEACE, SALAAM, SHALOM (illustrated by Kate Talbot) –

Opening lines: On the first day of school, the wind rattled and leaves swirled. Molly’s knees knocked as she buttered her toast. Would the other kids like her?

Ending lines: That season, the girls planted trees of friendship. And built bridges of hope. Together. In Peace Park and beyond. Peace, Salaam, Shalom.

Readers follow three girls of different faith traditions through the seasons of a school year, as they discover friendship and celebrate their differences.

And in READY, SET, GORILLA! (illustrated by Sandy Steen Bartholomew) –

Opening lines: Gorilla liked racing his school pals. But most of all, he loved to win . . . at any cost.

Ending lines: They all lined up. They crouched down. Together, they shouted Ready, Set, GO! Off they raced . . . and everyone was a winner.

Readers follow Gorilla as he learns that having friends and playing fairly makes him a winner.

As you create your own picture books, experiment with different types of endings and see what resonates with you. Happy writing!

A SATISFYING STORY ENDING IS UNEXPECTED YET INEVITABLE

by Kirsti Call

Jane Yolen taught me that a satisfying ending is unexpected yet inevitable.  Here are three endings from books I’ve written–always with Jane’s advice in mind.

1. MOOTILDA’S BAD MOOD‘s ending is surprising, yet makes sense. Mootilda’s bad mood has es-cowlated all day, until she chooses to think about her friends instead of herself.  The final spread shows her with the sign:  “Cow-nseling, expert in the field.”  Mootilda sits with her pen, notebook,a box of tissues, and Crow on a couch across from her.  He begins his session with, “I’m in a bad mood.”  This ending also mirrors the beginning of Mootilda’s journey when she says, “I’m in a bad mooood!”
2. COW SAYS MEOW has a circular ending where the end hearkens back to the beginning, and encourages the reader to read the book again.

OPENING line: “Cow says… Meow.”

CLOSING line: “Cow says…Pssst. Can I meow again?”

3. COLD TURKEY ends with the opposite of the beginning. You guessed it, he starts out cold, and the last line is: “TOASTY TURKEY!”

Circular, surprise and opposite endings are only a few of the numberless ways we can create satisfying endings.  So, don’t be afraid to try out multiple endings for your story–read, re-read, write, re-write and find the solution that gives you that satisfied feeling of closure. You’ll find it’s almost always something unexpected….yet inevitable.

GIVE THE READER SOMETHING TO TAKE AWAY

by Beth Anderson

Endings and beginnings are equally difficult. And they’re intricately dependent upon each other. Endings need to circle back to the beginning in some way—as an “answer” to the story question posed, or the “bridge” that takes the story into the future. As a person who writes historical stories, the decision of where to start and stop is crucial. Just as identifying that inciting incident is essential, knowing when your emotional arc is complete is, too.

• Endings can’t be too abrupt. Or drone on and on.
• Endings must be clear, but not sappy or didactic.
• They should elicit an emotional reaction, linger, resonate.
• The take-away must be just that—something a child can carry in their mind or heart or funny-bone.

When I work on revising an ending, I copy and paste the section into another document and redo, redo, redo. Small tweaks, rephrasing, rearranging. Over and over and over until I work through to that just right piece that will bring satisfaction and go a step further to carry something forward. I like to think of the process of writing as mining—digging deep into story and also into self to find that special take or “heart” to shape, polish, and thread through. Your ending is the resulting “gem.”

I like endings that provide an invitation for a child to rethink themselves.

In An Inconvenient Alphabet, I used the “conventional you,” addressing the reader, in both beginning and end. The last page says: “Next time you sound out a word, think of Ben and Noah. Thay wud bee pleez’d beecuz that iz egzaktlee wut thay wonted!” It’s sort of “congratulations, you’re a great thinker, too”—a chance to rethink self.

Another way I think of endings is laying a thought or idea in the lap of the reader.

The end of Lizzie Demands a Seat! plants the seed for carrying social justice action forward.

“Smelly” Kelly and His Super Senses ties back to the the beginning question, “What good was an extraordinary nose?” and Kelly’s desire for a “power” that would make him special. At the end he discovers that his special power is inside, then… “James Kelly gazed at the waiting passengers. He would bet each person had something special inside. He could almost smell it.” (the last sentence is also in the opening) This is an invitation for a child to think about what makes him or her special, but also a “lay it in their lap” ending.

The end ties up the story with a bow, a gift for the reader to carry forward.

At the end of Tad Lincoln’s Restless Wriggle, people around Tad finally see the goodness in the “problem” child when his relentless, pandemonium-producing wriggle benefits others. This ending is an affirmation of the capableness and goodness of children. A gift.

Endings are hard. But…a good ending makes a story sing!

MORE WISDOM ON THE WAY!

Follow my blog or keep a close eye out because we have more “writing endings” wisdom coming from Dawn Prochovnic, Marcie Flinchum Atkins, Pippa Chorley, Laura Gehl, Vivian Kirkfield, Ellen Leventhal, and Rob Sanders.

FOLLOWING ARE SOME LINKS TO OTHER KID-LIT WRITING WISDOM POSTS

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 1 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 2 of 3)

KID-LIT WRITING WISDOM PRESENTS WRITING CAPTIVATING MIDDLES (Part 3 of 3) 

HOW WRITE OUTSTANDING FIRST LINES AND BEGINNINGS (part1, part 2, part 3)

WHY KID-LIT WRITERS SHOULD READ MENTOR TEXTS AND HOW TO GET THE MOST OUT OF READING THEM PART ONE and PART TWO

THE MOST IMPORTANT LESSONS LEARNED IN MY PUBLICATION JOURNEY PART ONE and PART TWO

LONG AND WINDING ROAD: PUBLICATION DOESN’T (USUALLY) HAPPEN OVERNIGHT PART ONE, PART TWO, and PART THREE

INTRODUCING THE KID-LIT WRITING WISDOM TEAM

Read Full Post »