Lower Middle Grade (7 – 9 years) Between 10,000 – 30,000, depending on the reading age they are best suited for. The lower the reading age, the lower the word count.
Middle Grade (9 – 11 years) Between 30,000 and 60,000. There is a bit more room in Middle Grade to push the boundaries of wordcount and theme, within reason.
YA / Crossover (14+ years) Over 60,000 words. Fantasy books in this category can push the wordcount to more like 90,000, but usually around 60,000 – 70,000 is the magic number.
As you can see, books for younger children are much shorter. To write picture books, you don’t have to rhyme, or even know an illustrator (in fact, some agents prefer writers to submit text minus any artwork, as they find it easier to match these with their own illustrators later).
You do need to be able to tell a story that will make adults and babies feel all the feels though, within a very short word count. If you ask me, writing picture books might well be the hardest of all of these to perfect – and is one of the most competitive, too.
Between ages 7 and 11, the reading ages start to shift. You might have an 8-year-old reading a book written for an 11-year-old, and that is okay! At this point, it’s worth thinking about things in terms of ‘Reading Age’ rather than actual age. Early Readers are for children who are just learning to read, and Lower Middle-Grade tends to be lighter, funny reads.
Middle-Grade books are booming at the moment and are often read for pleasure by adults, too (myself included). They can be darker and you can push the wordcount a bit further. You can perhaps take a few more risks, providing the heart of the book is with the characters (more on that later).
Then we have Young Adult (YA) fiction. I like to think of this as two categories: Teen and Young Adult / Crossover. Teen fiction tends to focus on topics affecting teenagers around 12-13 years old. They are lighter, sometimes funny books. Young Adult or Crossover fiction can be anything where the protagonist is under 18. They can be romances set in a school, or dark, chilling tales.
You can find out more about average novel word counts in this article and how long chapters should be, these aren’t specific to children’s books, but make for an interesting read!
The best way to know your market is to read everything you can that fits into it. Yes, adults can read children’s books for pleasure too, you know! Some of the most delicious and astounding books I have read have been for children.
Don’t fall into the trap of re-reading the books you enjoyed as a child. The market is constantly evolving and what was publishable ‘way back then’ may not be marketable now. Keep your eye on books that are coming out this year, particularly debuts (as you’ll hopefully be one of those yourself soon!)
When you are reading, make notes on things like sentence structure, characters and plot arcs. Is the language simple or sophisticated? What age are the characters? And what twists and turns appear in the story? This will help you no end when it comes to write your own.
But that’s okay. Because you can make your story into one of those books using this blog post. And it starts with an astounding idea that will make an agent stop scrolling and forget to breathe.
“A girl has been trapped Inside her whole life, until one day she finds a hole in the wall.” – Okay, so that’s my book, but you get the idea.
Need some help developing an idea like this? Try this free Idea Generator – it comes via an email. You can also learn a lot from this post on How to Get Book Ideas.
The first rule for this is to think about their ages in relation to the categories we outlined above. Usually, children like to read about characters a couple of years older than them. In Young Adult fiction, I usually make my characters between 15 and 17.
90% of books for children have children as their central protagonists. The other 10% is usually made up of animals and magical beings, but they will nearly always speak and act like children in that age group. They are hardly ever adults.
The next thing is to think about the qualities that children of that age look for in a protagonist. Usually, this is bravery (although this doesn’t mean all characters need to be sword-fighters – there are many different kinds of bravery). Usually they are kind (although not always to everyone all the time). And usually they are quirky in some way – they have some interest or ideals that colour their world and make them interesting.
This is a funny Lower Middle-Grade book, and the main character is a boy who suffers with anxiety. Whenever he gets anxious, he turns into an animal. And with his brother in hospital and the school play coming up, there is a lot to worry about.
Kids Secret StoriesAlthough Charlie has something going on that I would hope most children can’t relate to (eg: turning into a pigeon), there’s an awful lot about him that readers want to root for. His anxiety is one – and the book does a lot to normalise this and teach the reader how to deal with it. He’s also a classic ‘good guy’ – always one to attempt to smooth things over with his bully, and worry about his brother. He is brave, kind and quirky.
In terms of secondary characters, this book is great at busting stereotypes, and that’s really something to keep in mind when writing (more on this later). You’ve got a smart, scientific friend, as well as those who provide some comic relief. You’ve got an antagonist bully, who we understand. And other grown-up antagonists such as grumpy teachers, and parents who have the ability to be ‘disappointed’.
In short, these are all characters that children around 8 years old will relate to and enjoy reading about. (As well as grown-up writers who have the mind of an 8-year-old, too!).
It’s worth spending time getting to know your characters using something like this Ultimate Character Builder (downloadable via email). This worksheet asks hundreds of questions about your character that forces you to think of answers.
Something else I quite like to do (mainly because it is wonderfully fun procrastination) is to use personality tests. Try getting into the mindset of your characters – including secondary characters – and taking the House and Patronus quizzes on Pottermore, for example. You might find out that your protagonist is a Slytherin with a rare winged Patronus, which might affect the way they behave in your plot.
Another great tool can be found at 16 Personalities. This asks you a lot of questions and gives you a Myers-Briggs personality type at the end, with pages and pages of information about how that person would react to things like relationships, family and difficult situations.
It’s worth spending some time doing some further reading on characterisation. Good places to start include learning about the theory of character development and spending some time making realistic antagonists, alongside your protagonist.
If your characters are at the centre of your story, then you need to ensure that they are the ones driving it forwards. If you shoehorn them into a twist that goes against everything that your character stands for, then readers will be left cold.
This is why the primary step to writing a children’s book is to get to know your characters back to front and inside out as we discussed earlier. Once you have a good idea about who they are, you can start using this information to plot your story.
For me, I like to start with something my character wants. This can be simple, like perhaps they are looking forward to an upcoming school trip. Or it can be much bigger than that – like perhaps they want to keep their family safe from being picked for The Hunger Games.
Next, you throw something in their path that means they can’t have what they want. They get framed for something they didn’t do at school and are banned from the school trip. Their sister is picked for The Hunger Games and they must volunteer as tribute to protect her from almost certain death.
What comes next is a series of incidents that raises action and keeps your character on their journey. They try to sneak onto the school bus, but end up on the wrong one, going instead to France. They get off the bus for a wee and it drives off without them. They try to buy a baguette with their lunch money, but it gets eaten by a dog (which they are afraid of) etc etc.
Within this middle point are highs and lows. They meet friends and helpers along the way – usually children their own age, or animals. There might even be other grown-up helpers or antagonists (think about Haymitch and Crane in The Hunger Games).
Usually around the mid-point of the story, what your character wants has now changed. The boy on the school trip now wants to find a way to go home. Katniss in The Hunger Games wants to stay alive.
This all leads up to the climax of the story – where all the issues you have dropped in before come to a head. There is usually a small battle to be won first – perhaps that is getting over the fear of dogs to save a friend in France, or it is beating the other Careers in order to stay alive in The Hunger Games. Then there is a small dip in action before the big beast is slayed – maybe that is as simple as finally asking for help to go home in France, or it is tricking the makers of The Hunger Games so that they can live.
To finish off, we have the resolution. This is where you tie up the questions you set up earlier in the story and resolve differences between characters. Maybe we see the boy return from France and ask his parents for a pet dog. Or Katniss returning home to her family as victor (whilst also leaving something unresolved here with a larger antagonist for book two in the series).
