Greetings;
Webster’s Third New International Dictionary explains denouement as “a derivative of the French word, desnouer, meaning to untie. It denotes the final outcome, result, or unraveling of the main dramatic complications of a play or other work of literature.” Denouement is often pronounced “day-new-mon”.
Done well, it is what sends readers searching for your next story.
If your beginning is interesting and your middle contains quality writing (no unnecessary words) and a unique twist (mandatory to catch an editor’s interest), it’s time to build your denouement. Where the beginning stirs one’s interest to keep reading (I hope) and the middle builds on that curiosity by incorporating suspense, conflict, suspicion, or perhaps some insecurity to make the story interesting on more than one level, the ending must bring it all together in a believable fashion.
In a good short story written for children, the main character works his way through the difficulties and ultimately solves the problems on his own. In a longer work, there are more options. More than one person can evolve in importance as the story unfolds, but if a particular person will be the one to produce a fitting ending, either as culprit or mystery solver, it’s important to maintain his presence throughout the story. You can’t drop him into the action during the denouement and expect your reader to accept his presence as believable. Readers want clues throughout to maintain their interest. When a reader is disappointed in your denouement, he’s not likely to read anything else you write, and even more disastrous, is apt to mention in literary circles that your endings are too abrupt and/or unbelievable. No writer wants that to happen.
Your denouement should be floating around in your gray matter from the beginning of your story. I don’t mean you must know right away how it will end, but building a story is much like building a house. There are certain necessities like a firm foundation to begin with and the inner rooms must be interesting enough to present a solid sense of scene and players. To complete a house, one must build a roof to encompass and safe-guard the house and its inhabitants. Much as a well-built house needs a good roof, so does a good story need that  foundation, interesting insides, and a solid ending which will not only make the house livable, but the story’s finale believable.
In my children’s book, WERFUL AND THE CAPTAIN, the young reader wonders right from the beginning—the title–WHY is a tugboat named Werful? It isn’t until the denouement that the reader understands its importance. Children love to discover those answers for themselves It’s more fun. Read some endings of children’s stories to SEE how published authors make their ending work. The more we read good authors, the better writers we become.
When asked, “How long should a story ending be?” I refer to what is called the ARC of a story. It delegates 10% for the story’s beginning, 80% to the middle, and 10% to the denouement. (I keep repeating that word on purpose so you will become accustomed to seeing it in print and will recognize its meaning. When I learn a new word, I’m amazed then to keep seeing it in print where I had never noticed it before. The more we learn, the more we SEE.) Keep in mind when writing your story, however, the ARC is only a guide. Don’t waste valuable time counting words to make sure everything fits perfectly. Some endings need more words to unravel mysteries or circumstances. Don’t be afraid to use another 10% to make your denouement work.
Finally, I won’t be back next Wednesday; my husband, Jack, and I are going on vacation and I am leaving my computer home! I’ll miss greeting you in internet land, but want to spend some quality time with friends and family. Conversing in person is much more fun. God willing, I’ll be back on line on Wednesday, November tenth. Another year almost completed. Amazing.   Be well.           Linda

“How’s Your Middle?
Greetings;
If the first paragraph of your story instills reader interest you have written well, but the middle is where your main character’s (pov) reasoning, the WHYs of him, must come alive. It’s also where the reader should wonder what will happen next. What is there about the pov’s personality to help your reader understand him, and HOW will the pov ultimately solve the plot’s conflict on his own? He can receive help from friends and family, but each obstacle should be solved by the main character.
It’s also good to have more than one problem to keep your readers’ attention. How is your pov going to cope with those conflicts? For example: The best friend of your pov character finds a new friend. Why? Then something happens to the friend or the pov that brings them together again. By solving one problem, does another arise to keep the readers’ curiosity aroused? If you’ve written in no conflict, there is nothing to solve.
Will your pov forge on against all adversaries or circumstances? How he deals with each frustration or failure SHOWS the reader his true personality, weaknesses, and strengths, be it a good guy making wrong choices for a time or a bad guy finally becoming good. Both situations can work as long as the middle of your story sounds real.
A reader will continue to read only if there is on-going action to consider. If not, what will keep him from turning on the television or opening his latest video game?
Some short stories contain extra blank lines to denote a transition in time or place, but it can be dangerous to take a reader’s eye from your story even for a moment because then other thoughts can attract his attention. Better to begin a new paragraph using a short sentence like “A few hours later,” or “At his best friend Timmy’s house that afternoon,” to change time or place. It’s also important to avoid clichés or indefinite time periods like, “The apple doesn’t fall far from the tree,” or “When winter’s storms surrounded us,” for the reader’s sub-conscious mind will pick up on them and pause to wonder where those words were seen before. Any loss of a reader’s attention is dangerous.
The only reason for a flashback in children’s stories is to clarify the pov’s character and background, and only as it pertains to your story’s plot. Young readers want to know what is happening NOW and what’s going to happen NEXT. However, your pov could prompt a flashback that evokes some past success, which will help him solve his present problem. When writing in flashback, keep the scene short making sure what is occurring matches your other scenes by using similar language, personality traits, etc..
Be sure to incorporate dialogue to keep your story “alive.” Dialogue can also be used to change a circumstance without needing a flashback or transitional paragraph, but make sure the vocabulary used fits the age group you are writing for or it won’t work. If you must use slang to denote a personality or place, research well first, and keep it to a minimum.
Finally, if you are currently writing a story for children, pause for a moment and ask yourself, “How is my middle doing?”
I hope my suggestions help. Until we connect once more, have a fun week. Linda

“EitherYou Have It Or You Don’t.”
Greetings;
There are those who believe writing is a skill, which cannot be learned. They make statements like, “I’d love to write but I can’t. Either you have it or you don’t,” or, “Every time I try to set my thoughts down on paper, nothing happens.”
I do agree good writing is a skill, but it CAN be learned. Of course, some have more of a knack for it, but that shouldn’t keep one who “..would love to write.” from the learning process. When I signed on for my first creative writing course, I was sure every person in the class, except for me, was a budding Shakespeare. Insecurity reigns when beginning a new skill, no matter how intelligent one is or isn’t. A budding pianist doesn’t wake up one morning, sit down at Mom’s piano, and begin playing Ludwig Beethoven’s Fifth Symphony. I can imagine some pessimist murmuring, “Sure, but if Mom plays well, so can he. My mom is just a waitress.” There’s that genealogy premise. Sorry, I don’t buy it as a reason not to try, and I dislike the word, “just.” Every profession carries with it its own skills.
I believe a child learns to play because the tools are there for him—piano, sheet music, and Mom’s ability to HELP him learn. In like manner with writing, one must have writing tools on hand to help with the learning. Keep a pen or pencil and a pad of paper always nearby to jot down anything of interest—a color, the way someone walks, an argument, or two children talking together is a good start.
Buy books like a Thesaurus, which provides a variety of words with similar meanings. Magazine subscriptions like “Writers’ Digest” are an added bonus. Most of all connect with writers by joining a writing group. Years ago, a young woman joined my writing group and her opening statement after being introduced was, “I can’t write, but I want to learn. Can I stay?” How brave. I’m happy to say that within a year her short stories were winning prizes because of her unique VOICE.
Add a creative writing course, available at local colleges, and join a writing workshop group. Now you’re making progress. If you want to write for children, visit a bookstore and spend an hour with pen and paper making notations on word choices used in the different age groups. If you like a certain phrase, write it down; your VOICE is beginning to want to be heard. After a few trips, you will SEE what words your voice likes and wants to use. The more you read, the more you’ll also see HOW feelings are preserved.
Every proficient writer has at one time penned some piece of writing that, once finished, (or unfinished) is so bad it is promptly crumbled with both hands and thrown away. But stop for a moment. Think of it as looking at a first grader’s first work. You would never tell a new student (at least I hope you wouldn’t) that it’s no good. Why discount your own first efforts? Throw it away if you must, but if you happen to be a realist or optimist, hide it somewhere so when you become more proficient, (yes you will) the reading of it will keep your ego in check and even make you smile. Don’t let anyone or any thing suppress your desire to write, especially your own insecurity.
Writing is a personal experience so write about what you know to get started. If your dog died and you can’t bear to talk about it, write it down. If your brother is and always has been mean to you, write it down. (great catharsis) If your cat makes you laugh when he plays with yarn, write it down. If you want someone special to like you, write down the whys of it. In doing so, you might discover something about your own personality. There’s no need for complete sentences; it’s the thoughts that are important. Re-writing to make it easier to read can come later.
Finally, the nice thing about writing is it can be done anywhere. In a doctor’s waiting room, under a tree, or even at a desk shoved into a closet for privacy and quiet. (one man actually did that and it worked for him.) Begin with fifteen minutes a day and write about anything, even if nothing comes in the beginning. Get in the habit of joining with pen and paper or a computer and simply write down words you like. A few of my favorite words are “metronome” and “viola” perhaps because I love music. Maybe you will find a similar connection in the words you set down. What do your favorite words make you think of? Perhaps a subject to write about? It can be that easy to begin your writing vocation or avocation.
Once you’re feeling more secure and have begun to actually write, sign up for a workshop like those run by Cape Cod Children’s Writers. Joan Walsh heads that group and can be contacted on the internet at www.capecodchildrenswriters.com
Good luck and until we connect again, be well. Linda

Story Ideas
Greetings;
When non-writers ask, “Where do you find your story ideas?” I must admit, “They come from everywhere. A child playing on a slide suddenly kicks the girl in front of him—story idea. A mother tells a child he can’t play outside because his measles are catching and the child wonders, what are they catching? Story idea. When I was about five, my grandmother told me, “I’m spraying the kitchen counters with vinegar and water because ants don’t like the smell and they go next door.” I wondered, what ant told? Story idea. Speaking of being young, much of what I write comes from my childhood years of living on a farm. The wise statement that a writer should only write about what he or she has experienced or thoroughly researched proves true. When one attempts to write about a city mouse and the writer has only lived in the country, the city part of the story won’t ring true. City children will notice discrepancies and no longer trust that author. Mothers especially want stories to be truthful.
Fantasies are another matter because they are unrestrained imagination pieces and as such provide leeway for the author to delve into fanciful creatures and situations. J.K.Rowling is a master of fantasy.
When writing a story, can a child reader visualize your main character, or if capable, be able to draw the character? Is there enough description to make your main character “come alive” in a child’s mind? I was delighted when a class of children, who had listened to my story about a tugboat in Bermuda, sent me drawings of the story. What a fun surprise to be able to “see” what they “saw” in the story.
A woman at one of my book-signings noted, “I’ve always thought about writing for children, but I don’t have any of my own.” I replied, “Dr. Seuss had no children, and we all know how successful his books are. Nor did Maurice Sendak. He wrote WHERE THE WILD THINGS ARE, which won the Caldecott medal. He continued to write and to illustrate his and others’ books for many years. One doesn’t NEED to have children to write about them for children and their experiences abound everywhere—on playgrounds, trains, in school, etc..
When my four children were young, each one could choose a special night and place to spend time with Mom once a month. I learned so much about each child during those outings. For those without children, borrow a niece or nephew OR become a BIG SISTER, or BIG BROTHER to one in that amazing organization. Most of all make it a fun night and listen–really listen—to what they say and how they say it. Listen to the vocabulary used for that particular age and their reasoning—lots of story ideas there.
A difficult childhood? Great story ideas. Every good story includes conflict, and how the main character survives sadness or problems. Character builders begin in childhood. Even in a “magical” childhood world filled with love and trust (don’t know many of those) the child will come across some problem—either real or imagined. Another story idea.
I once heard an author note “…children never trust anyone over thirty inches tall.” I don’t agree, but it’s an interesting story idea.
Having noted these thoughts, I’m hopeful there is at least one non-writer out there who will read this article and decide, “I think I’ll try to write something.” When you do, I’d like to read it.
God willing, I’ll be back next week. Thanks for taking the time to read. Linda