Finding your voice

As you start to write your style will emerge. Before you begin you should have some idea of how much of you will appear in the book. If you're writing a memoir nearly all of it may be written in the first person and yours may be the only viewpoint that the reader glimpses. Margaret Forster makes this change in emphasis explicit half way through her family memoir, Hidden Lives. Just before this she has been telling the story from her mother's point of view and describing her concern about her precocious child. Then the tone changes:

"It was at this time, in 1943, when I was five, that my own real memory begins, real in the sense that I can not only recall actual events but can propel myself back into them, be there again in my Aunt Jean's room-and-kitchen, standing by the window at the back of the Buildings, staring out at the outside staircase and the tops of the wash-houses, while behind me Jean asks me what is the matter ... So I can stop now, writing in the third person, stop retelling stories I was told about the years before I was born, about when I was under five, stop splicing oral history with local history and start instead letting my own version of family lore come into play. I am there, at the centre. What a difference it makes, how dangerous it is." (page 132-133, pbk)

"I" is less common in a biography - unless you want to incorporate a sense of a personal quest - but there is just as much scope to write about a person's life from different viewpoints. If you're writing about a singer you might describe how members of the band reacted to their decision to leave it or how a fan greeted the news.

Characters and Viewpoint

The main characters in fiction for children and teenagers tend, not surprisingly, to be children and teenagers, though it's not hard to find exceptions, such as Philip Pullman's Once Upon a Time in the North. To write convincingly, whether in first- or third-person, you need to position yourself inside the head of one or more characters. In Tom's Midnight Garden, we share Tom's thoughts all the way: his frustration at being cooped up, his interest in the old grandfather clock, his surprise at finding that the midnight garden is different from the daytime one.

One way of getting a sense of your characters as rounded human beings, rather than as cardboard cut-outs, is to build them through questions and answers. For example: What's in her pocket? Who does she dislike, and why? What's her best subject at school? Who would she most like to get a text message from? What's she most anxious about? and so on. And it's important to hear your character speaking, and to see his or her body language.

Adults will almost inevitably appear, but children's writers are adept at getting rid of them, or at least keeping them on the sidelines, so that the children have to confront their own difficulties. Health and safety consciousness can curtail the activities of children in present-day stories of the real world, which may account for the huge amount of fantasy published in recent years; in imaginary settings, child characters can be magicians, warriors, seers, time-travellers, or whatever the author wants them to be. Similarly, children in historical fiction can plausibly face huge responsibilities and go on dangerous journeys with only their own resources to depend on.

Why write at all?

Writing for children is not an easy route to becoming published, today's tutor Linda Newbery explains why.

Books can change lives - we know that. And if you're lucky enough to write and publish books for children, there's the potential of changing young lives in various ways. Yours might be the book that turns a child on to reading, with a first experience of reading pleasure; maybe it's a favourite bedtime story, or the first book a child reads alone. It might give a child an absorbing new interest, or bring insight, reassurance, or the determination to confront a doubt or a fear. Yours might be the book that's loved literally to pieces, the story that's read and reread and almost known by heart. Your book, once published, will reach farther than you'll ever know.

These are powerful reasons for wanting to write for children, but let's get rid of some that aren't likely to get you far.

From Idea to Story

"Where do you get your ideas from?" Every author who gives talks to children or adults has been asked this question hundreds of times, and of course there's no simple answer. Ideas are everywhere - the trick is to recognise a promising one when you get it, and not let go. Your starting point may be something that's happened to you, or to someone you know; a news item; a fear, or a dream; something from the past; a fascinating character; a painting or poem; and of course our heads are crammed full of ideas and images from books we've read, stories we've heard and films we've seen. Several of my own books have begun with a particular place or atmosphere: an intriguing old house (Nevermore), a wartime airfield (Flightsend), an out-of-season seaside resort (The Sandfather).

When a promising idea grabs hold of you, hang on to it and see if you can turn it into a story, or at least the beginning of a story. You can build on it by asking yourself questions and thinking of the answers. Who? When? Why? will get you started; then more and more questions will follow: But why doesn't he tell anyone? Who could possibly help her? Where have his parents gone? What's he hiding from? At this stage, it's a game: you haven't committed yourself to anything, and can enjoy playing around with ideas and possibilities. When you're ready, you can start making notes on the characters and their situations

How to Write A Book - The Honest Truth By Scott Berkun

Every author I know gets asked the same question: How do you write a book?

It’s a simple question, but it causes unexpected problems. On the one hand, it’s nice to have people interested in something I do. If I told people I fixed toasters for a living, I doubt I’d get many inquires. People are curious about writing and that’s cool and flattering. Rock on.

But on the other hand, the hand involving people who ask because they have an inkling to do it themselves, is that writing books is a topic so old and so well trod by so many famous people that anyone who asks me, with the serious intent of discovering secret advice from my small brain and limited writing experience, is hard to take seriously.

How to write a novel in 30 days

Writing a novel can be daunting. But introducing structure to the process can help you maintain momentum over the course of a month without hampering creativity

The outline you'll complete using the 30-day method will become a snapshot of your novel. After finishing a full outline, you should feel you've got the makings of an entire book (your story should feel complete, solid, exciting and satisfying) and you should be desperate to start writing the book itself.

This first draft outline is the equivalent to the first draft of a manuscript. Because you've revised it so thoroughly, it will read with all the completeness and excitement of a finished novel. Using this outline to write the first draft of your book (which, in almost all cases, will be the final draft, needing only minor editing and polishing) should be so easy you might even feel a little guilty about it. All the hard work will already have been done creating the outline.

Throughout this guide we'll work on the assumption that the first draft of your book isn't a fully completed draft in the traditional sense, but is instead a comprehensive outline – your first, whole glimpse of the book and a snapshot of what it will be once finished. The outline you create over the next 30 days will become the foundation upon which your entire novel will come to rest. This method is a way to lay out the full course of the story as it flows from beginning to end.