A Quote by Rick Riordan

For me, writing for kids is harder because they're a more discriminating audience. While adults might stay with you, if you lose your pacing or if you have pages of extraneous description, a kid's not going to do that. They will drop the book.
Kids, if anything, are harder to write for because they are a more discerning audience. They will not stay with you if you go off on a tangent or if you give them extraneous information that doesn't serve the story. You really have to tell a tight story. You have to give them humor and suspense and believable characters. All those things that adults want too, but you have to be really on your game when you're writing for kids.
The StarTalks - while kids can watch them, they're actually targeted at adults. Because adults outnumber kids five to one, and adults vote, and adults wield resources, and adults are heads of agencies. So if we're going to affect policy, or affect attitudes, for me, the adults have always been the target population.
This is the great thing about writing for kids. Adults might not do anything if they recognized me. But if they do see me, and they're with a kid, they'll tell the kid who I am. They think they should give that to the kid. So generally that sends the kid over.
I enjoy writing for both kids and adults, though I think I'm better at children's stories because I was a teacher for so long, and I know that audience well. The process is no different whether I'm writing for children or adults. Really, the elements of making a good story are the same.
It will seem as if you were making the visions banal β€” but then you need to do that β€” then you are freed from the power of them Then when these things are in some precious book you can go to the book and turn over the pages and for you it will be your church β€” your cathedral β€” the silent places of your spirit where you will find renewal. If anyone tells you that it is morbid or neurotic and you listen to them β€” then you will lose your soul β€” for in that book is your soul.
And when I'm writing, I write a lot anyway. I might write pages and pages of conversation between characters that don't necessarily end up in the book, or in the story I'm working on, because they're simply my way of getting to know the characters.
And when I'm writing, I write a lot anyway. I might write pages and pages of conversation between characters that don't necessarily end up in the book, or in the story I'm working on, because they're simply my way of getting to know the characters
When I started writing 'Diary of a Wimpy Kid,' I was trying to write the type of book you might enjoy, put back on your shelf, and rediscover a few years later. I hope that the book finds its way into the bathroom of every kid in America.
While I can't promise you that I'm going to be a perfect candidate and I can't promise you that I'm not going to make mistakes, I can unequivocally promise you that no one, no one, will work harder on your behalf, no one will fight harder with you and no one will make you more proud.
I think it's more difficult writing what it's like to be a child. You can pretend you know what it's like, but you don't really know. The only parts I can remember is that the adults were like, "Aren't they cute?" But when you're little you're looking at the other kids like they're your colleagues. They're not like, "Oh, we're all cute little kids." They're more like your office acquaintances. It's very hard to grasp the memories of what it actually was like to be a kid.
Language description and metaphors seem readily available. The things I have to work harder at are plot, pacing, and form.
Let's say I've directed that [writing] energy into writing my latest book but suddenly, I really want to write about an onion. I don't say to myself, "No, you have stay on the subject," because I know that the longer I stay on the subject the more boring I get. So, if my mind wants to write about an onion, it might be a deeper way to go into what I'm working on, even though it might seem irrelevant. This is how I've learned to follow my mind.
I never think of my work as writing for a young audience, frankly, because I think it risks talking 'down' to them. The idea is for these books to work just as well as for adults as kids. As for what readers will take away, I just want them to love being in the world and see it as a safe place to explore things that adults are often uncomfortable talking to them about.
I never thought I was writing for kids at all. It really shocked and unsettled me to hear kids were buying the books. If I'd known I was writing for kids, I might actually have spelt things out a bit more, and that would probably have killed the appeal.
Kids need to know more than just about unicorns and zombies and vampires. The rhetoric that's coming out is anti-black, anti-Mexico, anti-diversity. [Adults] definitely need to put it in context. I've talked to people who are literally struggling to sleep because they're anxious. Children pick up on that. Talk to your kid. Tell them, "this is what's bothering me." Explain that what's going on is unacceptable.
I tend not to think about audience when I'm writing. Many people who read "The Giver" now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.
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