Writing historical fiction for children

We will briefly consider the different ages and stages of childhood, and the different kinds of books published to suit those different children. There are many different tones of historical story for children, as well as different formats of book and lengths and complexity of texts. We will think about the advantages that setting a story in the past has for both writer and reader, and the responsibilities and restrictions which can come for the writer with that. What from our own lives might we use to put emotional power into an historical topic? Should we pick a grand historical moment, or use the past as a more ordinary and general setting for our story? We’ll think about the vital importance of characters in forming the story we tell, and how to give them voice.

What are the ways in which we might explore the past, whether recent or from thousands of years ago, maybe in a very different geographical as well as historical setting? How can we convey information without that getting in the way of story action? Which kinds of research will best feed our stories? How should we tell those stories? In the first person? As a narrator? Maybe using diary or letter forms? When writing for the youngest children we may well be writing a text that is designed to work with pictures to bring our story to life within a book. And finally we’ll look at the opportunities for publication for those stories; how to get them to their intended readership. And consider where to find help to develop and finish your story project.  

Learning outcomes

The learning outcomes for this course are:

• Acquire an appreciation of the opportunities and responsibilities inherent with using historical settings and subjects with a child audience
• Acquire an understanding of how to create a convincing yet accessible world from the past for modern young readers
• Gain insights into historical research, and how to use that research

Classes

Monday morning

• Why write historical fiction for children? And what sort of history lends itself to fictional treatment for children?
• Looking at the role of history in giving children and their society perspective, but also the fun to be had with a historical story. Considering what historical topics and fictional treatments work best for different stages of childhood and formats of book. Thinking about the personal history we have in our own experiences.
• Where to find your story.  
• Finding the right time and place in which to set your story. Should we aim to write stories about the big moments and characters in history, or focus on the more ordinary?  
• Task set: Using yourself as a resource.

Monday afternoon

• Workshopping the task set in the morning.

Tuesday morning

• Using Fantasy
• The potential to develop historical fiction via fantasy of different kinds. How that freedom from reality can expand possibilities but also make demands on the story maker.  
• Where to find your story.  
• Task set: Using an object as a story starting point. Considering playing that story as true, or giving it a fantasy twist.

Tuesday afternoon

• Workshopping this morning’s task, and thinking about how to develop it further.

Wednesday morning

• Taking us there.  
• Considering the importance of character and story structure in making a story live in our imaginations. Working on story openings; the need to introduce characters, set the historical scene, and set the tone of the story, all whilst getting the story action going. How much historical background do we need to describe?
• Task set: Writing a story beginning.

Wednesday afternoon

• Workshopping this morning’s task, and thinking about how to develop it further.

Thursday morning

• Finding your, and your characters’, voices.
• Is it better to mix telling what happens with dialogue in a traditional narrative way, or to write in the first person? Should characters speak in the language of their time? Considering how to use other written forms, such as diaries or letters. What happens when writing shares the story telling with pictures?
• Task set: Writing in the voice of your character.

Thursday afternoon

• Workshopping this morning’s task.  

Friday morning

• Doing your research, and what comes next?
• Considering different sources for information and ideas. What, and how much, do we need to know? How do we find those things out? And how do we fill the inevitable gaps?
• Where to find help in developing your historical story writing skills, and potential routes publication.
• Exercise set: Selling your story idea in a single line.

Friday afternoon

• Workshopping this morning’s task, and a chance to ask any last questions. 

Written assignments

Writing will play a major part in this course. Each student is given the opportunity to produce up to four 350 - 400-word creative pieces through the week to be submitted for discussion by the class. Pieces should be submitted electronically to an online portal, for which a link will be sent to you on arrival (at Registration), no later than 6.15pm each evening on the following days:  

Monday (for the workshop session on Tuesday)
Tuesday (for the workshop session on Wednesday)
Wednesday (for the workshop session on Thursday)
Thursday (for the workshop session on Friday)  

One electronic copy of each written piece for each student in the group will then be made available to the Course Director, before the first session each day, so that pieces can be distributed and discussed during the workshops.  

The aim of these courses is to create, for their duration, a community of writers – a group of practitioners naturally interested in developing their own work, but also sensitive to the needs of their fellow-students. The classroom discussion of others’ writing needs to be simultaneously stringent and supportive; and it should be remembered that each participant can learn as much from a full engagement in the discussion of the work of others as from that part of the discussion that focuses on his/her own writing.  

Typical week: Monday to Friday

For each week of study you select a morning (Am) and an afternoon (Pm) course, each course has five sessions, one each day Monday to Friday. The maximum class size is 25 students. Your weekly courses are complemented by a series of two daily plenary lectures, exploring new ideas in a wide range of disciplines. To add to the learning experience, we are also planning additional evening talks and events.

Evaluation and Academic Credit 

If you are seeking to enhance your own study experience, or earn academic credit from your Cambridge Summer Programme studies at your home institution, you can submit written work for assessment for one or more of your courses. 

Essay questions are set and assessed against the University of Cambridge standard by your Course Director, a list of essay questions can be found in the Course Materials. Essays are submitted two weeks after the end of each course, so those studying for multiple weeks need to plan their time accordingly. There is an evaluation fee of £65 per essay.

For more information about writing essays see Evaluation and Academic Credit.

Certificate of attendance

A certificate of attendance will be sent to you electronically within a week of your courses finishing.