Writing non-fiction for children? Think multiculturally. Moira Butterfield

When we write non-fiction for children we need to get facts right, and that means careful research. That’s pretty self-evident, but there’s something else we should be aware of as we work – something that novelists are well used to considering but non-fiction authors ned to consider, too. We need to make sure that our work is multicultural.

By ‘writing multiculturally’, I mean creating text that has an awareness of the whole world naturally and effortlessly within its fabric.

How would a book of facts not be multicultural? That depends on the fact choices the author has made. The thought struck me recently as I was researching science. I was looking at highly-respected internet sites. My search terms led me mainly to university sites or those of science organizations. These were sites from the UK and US. I realized I had to change my search terms, get creative with them, if I wanted to find scientific work going on in Africa or South America, for example. I needed to be aware that I didn’t get trapped in the limitations of the internet and get too parochial.

Illustrated non-fiction books make their money by having as many foreign editions as possible and so it’s best to have an internationally-popular theme, but we non-fiction authors should always make sure we do our utmost to find our facts from everywhere, exploring the world for everyone.

Home Sweet Home, published by Red Shed on June 27th

 My newest non-fiction book, out at the end of June, provides facts within a multicultural framework. It’s called Home Sweet Home, and it sets out to explore the familiar features of a home, touching on different cultures and history, too, to get everyone thinking about what it is that makes a home. I’ve tried to do it with a light touch, using my writing to encourage the opposite mindset to: ‘aren’t those foreigners odd/funny’.  Everyone from everywhere is in this book because it’s entirely normal.

I was greatly helped by illustrator Clair Rossiter. The choices she makes in her work are naturally multicultural. People of all kinds walk, talk and live their lives together in her lovely detailed scenes.

I heard a teacher discussing her work on the radio this morning. she said:“It’s a privilege to be in a position to make a difference.”  We non-fiction authors have that privilege and we should keep it in the forefront of our minds as we research and write.

Moira Butterfield is an internationally-published author of illustrated non-fiction, and many other things besides. Her new book, Home Sweet Home, is published by Egmont imprint Red Shed, and illustrated by Clair Rossiter. 

Moira Butterfield

www.moirabutterfield.com

Twitter @moiraworld

Instagram @moirabutterfieldauthor

http://www.clairrossiter.com

Seven things you should know about the craft of writing (and editing) children’s non-fiction. Moira Butterfield

This month I’ve listed some practical aspects of non-fiction writing, and I hope it will be of use to editors, too, as a reminder of the craft. I’m doing this because, whilst there are any number of blogs and books about the craft of writing novels for children, there is precious little about non-fiction. So here goes. I hope this helps.

1) Know your non-fiction

There are two different kinds of non-fiction books for children these days. There are the kind that we might call poetic. They slip over into picture book territory, and the text provides a framework for imaginative flight-of-fancy illustration rather than, say, diagrams. They are for a young age-group, from pre-school up to around 6 or 7.  Then there are books that are more factual, and written for the next age-group up. There are more examples of these in the shops, but that doesn’t mean this kind of writing is easy. It takes a lot of thought and skill to get it right (and that’s why there’s a lot of bad non-fiction writing for children out there at the moment, both in print and online). 

2) Know what your non-fiction will look like

Most non-fiction text must be written to work with layouts (spread designs), which can be quite complicated and are difficult to get right in themselves, as the reading order of the text will be important. As a writer you must be roughly aware from the beginning what your book is going to look like visually, and thus how your text should be provided (how many lines? short captions? long captions? labels?).

I sometimes go the whole hog and sketch out a layout while writing, to help me focus on what I need to provide. I might send it to my editor to help them understand my thought processes (not always, if things aren't complicated). My editor and designer might ignore it in the end, and that doesn't matter.

3) Write your non-fiction at the right level

The words must be written at the correct language level. The sentences should flow, not get convoluted or awkwardly chopped up. The vocabulary must also be right for the age-group. This needs an awareness of child abilities, and it takes practice (and good editing). The first time I wrote a non-fiction spread I was working in-house at Usborne, where we were taught to write. My kindly, patient, immensely skilled Senior Editor got me to rewrite that spread 10 times before it was OK –not jerky to read, illogical or confusing for kids. Ten times. It’s not possible to just knock this stuff out without effort (and I say that because some publishing companies think exactly that, and it's obvious). 

4) Write your non-fiction with pace

The text needs pace. That means dropping in surprises – interesting sparks - at the right times. Like a good nature TV documentary, the text shouldn’t get bogged down and droning. You need to think about how your reader will read it and the effect it will have on them.

David Attenborough's nature documentary scripts have masterful pace.

5) Point out bad editing 

Inexperienced editors can take it upon themselves to rewrite - sometimes badly. They can make facts wrong and mangle your carefully chosen age-appropriate vocabulary. If this happens to you point out politely where you think things have gone wrong and why, and make sure it is corrected. 

6) Write for an international market

 Illustrated non-fiction is almost entirely reliant on international sales to make its money. That’s going to affect your writing. Have you taken account of the wider world when dealing with your subject? Have you been too parochial or culturally narrow-minded in some way? 

My book, Welcome To Our World, has been translated into many languages.
That's how illustrated non-fiction adds up economically. 

7) Do all you can to light a spark

Have you put your imagination into your work? OK, you might be describing something others have described many times, but have you done it in a way that’s entertaining and will light a spark of interest? That, in the end, is your purpose.

Moira Butterfield has written many internationally-published non-fiction books. Her book WELCOME TO OUR WORLD (Nosy Crow) is a bestseller around the world and her newest book, HOME SWEET HOME (Red Shed), is due out in June. 

www.moirabutterfield.com 

Twitter @moiraworld 

Instagram @moirabutterfieldauthor