FEATURE How To Write “Quiet” Stories
Is swapping magic wands with the magic of compassion too boring in a children's story? Brigita Orel argues the value of such "quiet" books.
In recent years, the children’s book market seems skewed towards grand adventures, high-stakes premises, and madcap capers with exceptional protagonists with superpowers, magic or at least a dragon pet or two. While these stories are great fun to read, quiet, reflective narratives that resonate with overlooked children are also important. Unfortunately, these types of books are much harder to find on the shelves of local bookshops and libraries. Why is that?
There seem to be at least two reasons for this. First, editors and agents respond to trends. They argue that the attention spans of today’s children are significantly shorter than they were just two decades ago, especially since the COVID-19 pandemic. Because of this, they favour shorter, preferably illustrated stories that are fast-paced and faction-focused so that they grab and maintain the readers’ attention.
However, the second reason may be that it is indeed difficult to write a compelling story that does not contain a wild adventure, a life-threatening beast of some sort, or some other gimmick to create suspense and raise the stakes. Writing about an outwardly unremarkable protagonist might seem a poor choice at first glance. So, how can you turn that into an advantage? Let’s explore five strategies.
- Develop your plot around the protagonist’s strengths, such as being a team player, compassionate, clever etc. This allows for a high-stakes conflict and an active lead character without the need for superpowers or magic wands. Instead, they can rely on their own skills and attributes.
- Tell the story through their eyes. A thoughtful and astute protagonist might see the world differently from how others see it: they might notice things that often get overlooked. This unique perspective can set your story apart. In a mystery story, they pick up clues everyone else misses, for example.
- Don’t forget about the protagonist’s complex and rich inner life. Quiet children might not attend a hundred after-school clubs and excel at ten different sports, but they will often have a vibrant inner life, exciting dreams and deep feelings. This lends itself to a more literary style of writing, but by showcasing the character’s inner growth, change, or willingness to learn a new skill, the story can remain engaging and dynamic.
- A great way to emphasise the strengths of this sort of protagonist is to surround them with great supporting characters. This allows you to explore their relationships and dynamics and let that dictate the plot. Your protagonist, for example, won’t go to great lengths to be the hero of the story but they will instead try to bring out the very best in everyone around them so they can resolve the conflict as a team instead.
- Address universal themes that any child will recognise. Focus on compassion, friendship, self-discovery, and the fact that ordinary people can have an extraordinary impact on the world surrounding them. It is difficult to gain the attention of editors and agents with “quiet” stories, but it helps if you have a compelling opening, a unique premise, and a distinct style and voice. The Book Thief by Markus Zusak is about a bookish, taciturn girl, but I devoured the book in one sitting. Similarly, The Wish Tree by Katherine Paterson revolves around a girl who doesn’t fit in at her new school and is desperate to make friends. No dragon or vampire in sight! Or an even more compelling example, Our Own Little Paradise by the Norwegian author Marianne Kaurin, revolves around a white lie that causes all sorts of conflicts. When done right, quiet stories can be just as powerful as adventurous ones, and there is a market for them.
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Brigita Orel studied Creative Writing at Swansea University. Her picture book, The Pirate Tree, was published by Lantana, and her middle-grade novel is scheduled to be published in Slovenian in 2025. She also writes stories for kamishibai performances. Currently, she lives in Slovenia, where she works as a translator and researcher of children’s literature.
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Ell Rose is the Illustration Features Editor of Words & Pictures.
Contact them at illustrators@britishscbwi.org
Tita Berredo is the Illustrator Coordinator of SCBWI British Isles and the Art Director of Words & Pictures.
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Contact her at: illuscoordinator@britishscbwi.org.
Thank you for this article. I needed to read it. I write about emotional intelligence and because I’m not your typical BIPOC or marginalized minority, my stories have been overlooked. I believe, however, that stories which unify and help children find collaborative and kind solutions are extremely needed in today’s chaotic and confusing world. Fantasy is nice but reality based on positive principles can help children not only survive, but thrive.
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