| Let's face it: some kids just don't like to read. | | | | get in the way of the forward movement of story. |
| Increasingly, parents, teachers, librarians, and editors | | | | Keep the pages turning. * Concise chapters. Ideally, |
| are looking for books that will appeal to reluctant | | | | each chapter should contain one clear event (or one |
| readers. When I was writing The Best Books for Kids | | | | specific point in nonfiction), and have an arc of its |
| Who (Think They) Hate to Read (Random House), I | | | | own (a beginning, middle and end). This makes |
| read hundreds of children's books, old and new, that I | | | | reading even one chapter a satisfying experience. |
| thought would fit the bill. I discovered that there are | | | | Chapters that end on a high note in the action will |
| eight qualities possessed by great books for reluctant | | | | make the reader want to see what happens next. |
| readers, and to my surprise some of my childhood | | | | Episodic novels (where each chapter stands alone as |
| favorites didn't pass the test. If you can work at | | | | a short story) are also good bets for reluctant |
| least three of the elements listed below into your | | | | readers. Richard Peck's A Long Way from Chicago |
| book, it will have a good chance of being loved by all | | | | and Louis Sachar's Sideways Stories from Wayside |
| kids, even those to whom reading is a chore. * | | | | School are two middle grade examples. * Kid |
| Humor. Making kids laugh is essential to building a | | | | Relevance. This applies to the themes and ideas that |
| pleasant association with reading. But you need to | | | | form the basis for plots or how an author |
| understand what tickles kids' funny bones at | | | | approaches a nonfiction topic. These ideas should be |
| different ages. The humor in picture books is broad | | | | relevant, meaningful, and applicable to the reader's life. |
| and very visual. Easy readers (and some picture | | | | Instead of conveying a lesson your adult perspective |
| books for ages 6 and up) begin to introduce verbal | | | | tells you the reader needs to know, try using the |
| humor: wordplay, puns, double meanings. As kids | | | | reader's frame of reference as a starting point. Write |
| move into the chapter book arena they can handle | | | | to your audience, not at them. And remember, |
| jokes that need a setup and a payoff that's played | | | | books can be just for fun. * Suitable Text. Depending |
| out over several scenes. Dialogue, how characters | | | | on the age and ability of the reader, the text needs |
| react to each other, or the situation in which a | | | | to be challenging but not overwhelming. Strive to |
| character finds himself may be innately humorous. * | | | | write your story as clearly as you can, using active |
| Well-Defined Characters. Many kids want to identify | | | | sentences and concrete nouns and verbs. When |
| strongly with the characters in their books; for | | | | writing for a broad age range of reluctant readers |
| reluctant readers, this is essential. It doesn't matter | | | | (8-12, for example), make the vocabulary accessible |
| what the character looks like on the outside (be it | | | | to the younger end, but the interest level appealing |
| space alien, a clown or a talking frog), on the inside | | | | to kids on the older end of the spectrum. * Unique |
| this character needs to embody the perspective of | | | | Presentation. Reluctant readers often choose |
| the reader. This means the character is dealing with | | | | nonfiction over fiction because it speaks to their |
| issues the reader might face, or seeing the world in a | | | | personal interests. Finding a new or unusual slant to |
| childlike way. Book characters must have | | | | your topic helps keep that interest alive. Humor |
| multidimensional personalities with strengths and | | | | doesn't hurt either. It's Disgusting and We Ate It! |
| weaknesses in order for the reader to care about | | | | True Food Facts from Around the World by James |
| them and want to stick with them for the entire | | | | Solheim appeals to middle graders' love of the gross |
| story. In nonfiction such as biographies, authors who | | | | while sneaking in some history on the side. * Visual |
| find an element of their subject's life that is relevant | | | | Appeal. Authors generally don't have much say in a |
| to the target audience have a better chance of | | | | book's design, but author/ illustrators might. Larger |
| reaching reluctant readers. * Fast-Paced Plot. Kids | | | | typeface, the generous use of white space, and |
| who love to read don't mind a story that takes a | | | | illustrations that elaborate upon the text all help break |
| few chapters to unfold, but reluctant readers don't | | | | up the string of words and make the book less |
| have that much patience. The action needs to start | | | | intimidating to read. |
| in the first paragraph, and by the end of the first | | | | Laura Backes is the publisher of Children's Book |
| chapter the reader should know quite a bit about the | | | | Insider, the Newsletter for Children's Writers. For |
| main character and have a good idea about the | | | | more info about writing children's books, free articles, |
| conflict or problem that character will face. Subplots | | | | market tips, insider secrets & more, visit Children's |
| are fine for chapter books and up, but too many will | | | | Book Insider's home on the web at Write4kids. |