Essential Elements to Consider When Writing Children's Stories

The life factor: Making your character come alive in a children’s story

"He is real!" a child might say. "He is alive!" another child might respond. 

Pierre, the Partridge, does not exist yet, but he could be brought in to existence in the mind of a child, if the essential elements are present when a children's author writes a story about him.

"I love him!" should be a child's ultimate response to the story.

Fantasy, fun and fiction are three of the many elements to consider, when writing a children's story, about Pierre the Partridge. Beyond that, there is the element of life depicted by action and adventure. Ask yourself this question.

"Is he magical?"

"Is he wonderful?"

What will bring Pierre the Partridge to life, in the mind of a child? In other words, what will make him seem to be alive?

Children have such amazing, vivid imaginations. They are playful, always busy and full of life's energy. That is why they relate to the life factor in stories they read.

Consider the following possibilities with regard to using this line in the introduction to a children's story.

Pierre the Partridge was waiting in line, at the soup factory.

How would you respond to that line? Perhaps this line might be more inviting? A hook will entice a child reader to read on.

"I am really hungry!" said Pierre the Partridge to his friend, as they stood in line at the soup factory.

Which one would you relate to better, if you were the child who was reading the story?

The first line may not have any meaning or significance, to a child who does not relate to the concept of a soup factory. The second line brings the story to life and makes it alive to the child reader. What child is there who cannot relate to being hungry? It does not matter what a soup factory is, at this point.

"What is Pierre the Partridge doing at the soup factory?" an astute child might ask.

You may have already lost your child reader, if you used the first line in the introduction. If that happens, it does not matter what you write beyond that. The child may not read the story. You have probably caught his or her attention, if you used the second line.

Now write the next line in the story.

"I wonder what's on the menu today."

"Pierre, this is not a place where you get a free lunch!"

If your child reader does not know what a menu is, the first line will have little or no meaning to him or her. 

Immediate action brings the second line to life. Lunch is a word that every child can relate to and it ties into the beginning of the story, if you used the second line there initially.

Now add another line in the story.

"I don't know," said Pierre, patiently.

Pierre shook with fear, as his friend whispered, "We have to get out of here because we are the lunch!"

Here, the child would be bored with the first line. He or she might decide to move on or find something else to read. The second line puts life, emotion and action into the story. An emotional trigger brings a story to life. A sense of urgency excites the child reader to read on.

So read on, children's story critic.

"I am getting tired of waiting."

"Pierre, you have to fly away as fast as you can, right now!"

The first line might put your child to sleep, but that may not be what you wanted to see happening, particularly if your child is learning to read. The second line opens up definitive action. Children can relate to birds flying away, when they are frightened by something.

"Is it going to be much longer?"

"Fly to the pear tree!"

The first line is like waiting for the story to restart. The second line gives a distinct directive to the main character. It tells Pierre the Partridge exactly what to do, without revealing the identity of the second character. This line depicts a live voice with a positive, authoritative, escape plan for Pierre the Partridge. 

Children can relate to directions and to birds escaping or being rescued, in some way.

"The line is finally starting to move."

"Goodbye, I am really going to miss you, Timothy the Turkey."

Here the first line begins the story. The second line could depict the end of the story. That is the difference.

Meanwhile, the child reader is left to decide what happened or will happen to Timothy the Turkey. He or she will recognize the reality that Pierre the Partridge is probably safe in the pear tree.

"A Partridge in a Pear Tree" Does that title sound familiar to you? Maybe Pierre the Partridge goes back to rescue Timothy the Turkey, from the soup line, later? Who knows?

Did Pierre the Partridge, come alive in this children's story for you? His story has the essential elements needed to interest the child-reader-in-you, too. He will come alive for your child, as long as the story that you tell him or her follows the second line, all the way through. Put it all together.

Pierre the Partridge

"I am really hungry!" said Pierre the Partridge to his friend, as he stood in line at the soup factory.

"Pierre, this is not a place where you get a free lunch!"

Pierre shook with fear, as his friend whispered, "We have to get out of here because we are the lunch!"

"Pierre, you have to fly away as fast as you can, right now!"

"Fly to the pear tree!"

"Goodbye, I am really going to miss you, Timothy the Turkey."