Tag: The Elements of Style

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Mastering Middle Grade

Elements That Work

When it comes to writing middle grade fiction, authors might wonder what works best for this 8-12 years old age group. After all, it encompasses a large audience. Consider the developmental differences between an eight-year-old (3rd grade) and a twelve-year-old (7th grade). Height, puberty, social/emotional awareness, goals, interests… there is a lot of room for variation here. Narrowing down a story idea can prove challenging.

Here’s the good news: middle grade readers enjoy all genres. Historical fiction, science fiction, contemporary fiction, fantasy, mystery, graphic novels, and action-adventure.

What are some elements that work well with this age group?

Stories that are Character-Driven

Make your protagonist the same age as your reader. Let them face authentic challenges and struggles and push them to actively resolve these problems independent of an adult. They need to be likeable and relatable. Show your reader their hopes, their fears, their best friend, their worst day, and their thought process. Remember, at this age, kids make a lot of mistakes, and that’s okay. Keeping it real can lead to entertaining outcomes and set the MC up for major character growth. For example, in the book Wonder, author R.J. Palacio introduces the reader to a child with a severe and very visible facial deformity. Not only is he phasing from homeschool to public school, but he’s doing it at a time when this age group typically hyper-focuses on looks.  In laughable fashion, he thwarts a few bullies who underestimate him. At the same time, he faces prejudices and obstacles that help stir empathy in the reader. These factors make the reader open to the valuable but organic lessons housed in the tale, such as you can choose happiness or don’t judge people by their appearance.

Stories with Humor

Light-hearted banter or outright ridiculousness works well with this age group. The book itself doesn’t have to be geared for humor. Writers can sprinkle this in through relationships, exaggerated situations or characters, word play, or crazy reactions. Kids are more likely to pick up on themes or messages you want to get across if it’s couched in humor. Editors love this aspect too.

Our own Kelli McKinney uses humor in her book Jeff Pennant’s Field Guide to Raising Happy Parents. McKinney gives the reader an inside scoop on the thoughts of the main character, Jeff, who is often egocentric and overly focused on a single goal. The conversation between the reader and the author makes Jeff’s actions and reactions hilarious.

Stories with Action

Keep the romance to a minimum but drum up the action. Use natural-sounding dialogue to maintain the fast pace that keeps readers engaged and use the old “show don’t tell” adage when using description. Short chapters, especially ones that end with cliffhangers, will keep readers turning the pages. Look at what author Peter Brown does with The Wild Robot.  The chapters average 3 pages. Some are a single page. In addition, each chapter contains a single, pivotal event that propels the story forward. The action itself fits the audience. There are confrontations, problems, and challenges, but those situations are more about pace and chase than it is about violence and graphic details.

In conclusion

One of the best ways to familiarize yourself with strong characters, good humor, and middle grade action is to read, read, read. Visit your local library and request copies of new releases and popular titles like the ones listed here. What are some good middle grade books you would recommend?

Elementary school teacher Lori Z. Scott usually writes fiction. Her down time is filled with two quirky habits: chronic doodling and inventing lame jokes. Neither one impresses her principal (or friends/parents/dogs/casual strangers), but they do help inspire her writing. Somehow, her odd musings led her to accidentally write a ten-title bestselling chapter book series and on purpose write over 175 short stories, articles, essays, poems, and devotions. Lori enjoys speaking, leading workshops, and visiting local elementary schools to share her writing journey. Follow her on Instagram @Stories.by.Lori .

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History in the Making

What I Learned from the Author of Charlotte’s Web – Part 2

by Sandra Merville Hart

 

Last month we talked about the author of Charlotte’s Web, E.B. White, and the influence of his writing professor, William Strunk Jr.

Strunk devised and White revised twenty-two Elementary Rules of Usage. The whole list deserves an author’s attention but this article focuses on three rules that most altered my writing.

A writer must first select a design for the piece and adhere to it. I had written several books (unpublished) and many articles before reading this advice. According to White, effective writing follows the author’s thoughts but perhaps not in the same order. Deliberate planning precedes writing.

For instance, certain forms of poetry follow a predetermined frame, but most writings are flexible. Considering the shape of the finished work allows greater chances for success. The intended audience and the message affect this decision.

Make positive statements. This second rule underscored one of my weaknesses that I’ve worked to correct. Avoid indefinite language. Commit to your descriptions.

[bctt tweet=”E.B. White advises #authors to make positive statements and avoid indefinite language when #writing an article or novel. ” username=”@Sandra_M_Hart”]

Writing not very often hesitant to speak is wordy and better stated as usually spoke his mind.

Another part of this second rule is to express negatives positively. Did not go becomes stayed. Not happy is sad. Is your character a little mad or is he frustrated?

A third rule from White deals with loose sentences. These are two clauses joined by a conjunction, common in unskilled writers. His advice is to avoid a string of this type of sentence.

Connectors such as and, but, or which occasionally are fine. A paragraph filled with loose sentences grows monotonous.

Rework these paragraphs. White suggests rewriting enough sentences to relieve the repetitive feel. Replace them with simple sentences. Rewrite entire sentences. Join two clauses with a semicolon. Choose the best way to remain true to the thought.

When I originally read this book about five years ago, I began to apply as many of White’s rules as feasible to a recently completed draft. I discovered the best way to utilize the rules was to take them one at a time.

I hate to mention how many loose sentences were in my manuscript. For someone so unfamiliar with the term I certainly excelled at writing them. Realizing that using too many connectives was considered easy, unskilled writing, I rewrote many sentences to improve the work.

Then I went on to another rule that exposed my weaknesses and began the process all over again.

Though the continuous editing required more time and effort than anticipated, working through each rule solidified the learning impact. Whether or not my manuscript was good at the end of this process, hard work improved it.

This introduction of three of the rules simply scratched the surface of the gems found in The Elements of Style by William Strunk Jr. and E.B. White. Next month we will talk about other helpful writing tips from this book. Stay tuned!


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History in the Making

What I Learned from the Author of Charlotte's Web – Part 3

by Sandra Merville Hart

 

Two months ago we talked about the author of Charlotte’s Web, E.B. White, and the influence of his writing professor, William Strunk Jr.

Last month we dug into three of the White’s twenty-two Elementary Rules of Usage.

This article focuses on commonly misused words. The Elements of Style by William Strunk Jr. and E.B. White, lists twenty-six pages of them; we will mention only a sampling.

Some speakers or writers use certainly or very to intensify statements. Used often, these words become a mannerism.

The authors considered using contact as a verb as self-important and unclear. Phone, email, or meet someone; don’t contact them.

If you are disinterested in something, you are impartial; being uninterested means indifferent or not interested.    

A three-day battle started in Gettysburg on July 1, 1863 is a fact because it is verifiable information. An opinion such as the greatest president or the worst restaurant shouldn’t be confused with facts.

Folk is the same as people. Folks refer to family or those gathered. Use the singular form of the word in formal writing.

Beginning a sentence with however gives it the meaning ‘in whatever way.’ However doesn’t mean the same as nevertheless.

Rephrase a sentence to avoid using the word importantly.

The authors label interesting an unconvincing word. There is no need to announce something will be interesting; grab the reader’s attention with the writing.

Less (denoting quantity) is sometimes mistakenly used for fewer (a number.)

There is an important difference between nauseous (causing nausea) and nauseated (upset stomach.) Saying I feel nauseous actually means we create that feeling in others. Whoops! Don’t we often say this when sick to our stomachs?  

Writers should avoid split infinitives (placing an adverb between to and the infinitive) unless desiring to stress the adverb. To tirelessly search or to search tirelessly is an example.

[bctt tweet=”Write with the reader’s enjoyment and understanding in mind. #Historical #Writing” username=”@Sandra_M_Hart”]When choosing whether to write that or which, remember that defines the one spoken of and which is nonrestrictive.

When writing of customary actions, would can usually be omitted. Every month she would volunteer at the soup kitchen. Remove would and make volunteer an action verb: every month she volunteered at the soup kitchen.

White dubbed his writing professor “Sergeant Strunk” in the introduction. He taught with authority and assurance of being right and that is the tone of this book that he wrote and White lovingly revised.

One of the greatest gifts of studying The Elements of Style was the emphasis on the reader. An author’s job is to communicate clearly so the reader understands exactly what’s happening.

So writing with readers in mind – people who can’t see what’s going on inside our head – should realign our focus to their enjoyment and understanding. It’s hard work that is worth the effort.

Categories
History in the Making

What I Learned from the Author of Charlotte’s Web – Part 1

by Sandra Merville Hart

 

I wanted to instill a love of reading in my daughter from a young age so we read at bedtime. One novel we both enjoyed during her elementary school years was Charlotte’s Web by E.B. White.

When beginning my writing journey, I found a wonderful book originally self-published by one of White’s professors. An editor asked him to expand and revise it. Studying the end product, The Elements of Style by William Strunk Jr. and E.B. White, inspired me.

The learning began in the introduction where White recalled his teacher omitting needless words eagerly from students’ papers as a demonstration to the class. Every writer cringes in sympathy to imagine being the one used as an example.

[bctt tweet=”#Write concisely but don’t avoid details. Instead make every word count. #Author” username=”@Sandra_M_Hart”]

Strunk taught his students to write vigorously. Such concise writing contains no unnecessary words. This doesn’t mean authors avoid details. Instead, make every word count.

The professor worried that readers flounder in murky waters. Authors must write in a way to “drain the swamp” and enable the reader to reach dry land. His main concern was the confusion the reader felt upon encountering unclear sentences and paragraphs.

This compassion for the reader struck me. Surely our most important job is to communicate a clear message. We fail when our audience puckers their brow and reads a sentence a second or third time.

I am a work-in-progress. If you write, you probably feel the same way. Rejections abound in our profession as in other creative careers. Silently listening while an editor or critique partner scratch out phrases or suggest a better way to portray an action challenges us. Like Strunk, some are very positive they’re right.

We owe it to future success to listen and mull over the suggestions after the sting of rejection wears off. Applying their suggestion may affect a later scene.  You know your story. Evaluate their comments and learn from them.

There are more gems to share from this writing book. This article is the first of a three-part series. Join me next month for part 2.

As much as White squirmed under his professor’s editing, he benefited from the wisdom.

May we do the same.