Can you teach people to write for
children?
There are quite a few who think you
can’t. There is an implicit idea that writing is a talent you are born with and
that one day, sitting at your laptop in your kitchen (why is it always the
kitchen?) your innate ability will suddenly surface like a lottery ticket, and
you will write a bestseller that will pay your mortgage and take you on exotic
holidays for life.
After
many years working in publishing and talking to would-be writers, I have come
to the conclusion that this is only a tiny fraction of the truth. Writing is
like any other talent and it improves with being used. Dancers dance, musicians
play and writers have to write and write and write to get better.
There is
no doubt that some people have more aptitude for writing than others. But
besides natural talent, a writer must have something to say.
Next, a
writer needs to have the persistence and self belief to continue to write
through all kinds of distractions and discouragement. And finally, if a writer
wants to be published successfully, he or she needs a certain amount of luck.
The role of writing classes
First and most importantly, writing
classes can give the writer a chance to explore different kinds of writing in a
non-judgemental atmosphere. It is the job of the teacher to help students to
experiment until they find what suits them.
Students
can also meet other people in the same situation. Writing can be a very lonely
pursuit. A writer’s friends are usually embarrassed to give their honest
opinion about a story because it is a recipe for falling out. Every writer
knows the despair of writing something which at first sounds wonderful and then
on re-reading sounds rubbish. Where can writers find an independent judgement?
Whoever they ask must be someone they can trust to be impartial, someone who
can suggest where their good ideas become woolly and perhaps even how they
might go about improving things. However, these must always be suggestions. It is the writer who must decide how, where,
and in what way to alter the manuscript.
In an
ideal world, the publisher’s editor would help new writers endlessly until they
achieved a best-selling novel. The reality is that publishers’ editors are too
busy to nurture every single would-be talent. Therefore, it is up to the writer
either to go it alone – which many do – or to find someone else to act as a
sounding board. This is where writing classes can help.
Who benefits most from writing classes?
It is impossible to guess at the
beginning of a course how far students will develop their talent or even who
will actually get published. Obviously, different teachers suit different
people, but I have found an astonishing range amongst my students. That is what
makes it so exciting and rewarding – and so unpredictable. The only student who
is unlikely to be happy is the one who says: ‘Teach me to write a bestseller.’
This is frankly impossible and anyone who believes that writing is an exact
science is bound to be disappointed.
Interestingly
enough, the one thing that can indicate how far a student will get – apart from
their persistence, of course – is how flexible they are. Often, people who are
highly educated are actually at a disadvantage. They believe they have been
taught how to write correctly – and that there is a ‘right’ and a ‘wrong’ way
to do it. Nothing could be further from the truth, particularly when writing
for children. Therefore, I have seen an Oxford graduate watch enviously as
another student, still at school, sends the whole class into fits of laughter
with a perfect story. I have had students who were models, refugees,
counsellors, puppeteers, housewives, diplomats, postmen, soldiers, office
managers, nurses, with children, without children or simply out of work. One of
my best students left school aged 15. He is now editing a magazine and I still
wonder if he will ever write his children’s novel…. Another is now a published
author/illustrator, through his own talent and a great deal of effort. Yet another
is looking after her children – and one day perhaps the quiet brilliance of her
writing will find a publisher.
A typical course outline
Every course is different because every
student is asked what they hope to achieve and this obviously affects what we
do. However, certain things are always included in some form.
It may
sound self evident, but central to a writing course is getting students to
write. Students develop through putting new ideas into practice. Therefore,
every class includes about 15 minutes’ writing time and students read out and
talk about what they have written. Most students are nervous at first, because
they feel they are unprepared. But this rarely lasts because writing on the
spot seems to bring the group closer together. It also relaxes everyone, as no
one can be expected to write a bestseller in 15 minutes and at this point,
students invariably have brilliant ideas and express them unbelievably well. If
anyone gets stuck, they simply explain that the topic hasn’t worked for them.
Different students shine at different topics and this helps to steer them
towards what they ultimately want to write.
Finding a story
The first place to look for a story is in
your own experience. All students are asked to write something about their
first memories of their baby brothers or sisters because when students
genuinely remember their own childhood, their language becomes simpler, their
writing more powerful and direct. They write in a way they never would if they
were consciously trying to ‘write for children’. This is a very important step
in trying to discover what is your own voice. Writers need to know not only
what they want to say, but also how they are going to put it over.
The class
then usually discusses what kinds of story are appropriate for different ages.
Perhaps one of the most common mistakes made by new children’s writers is that
they write about very young topics in a very sophisticated fashion. If you are
aiming to write a picture book for a three year-old, you need to understand a
little of what a three year-old can cope with. It is no use writing a story
that is 10,000 words long.
However,
a nine year-old is not going to be interested in stories designed for a three
year-old – even if technically they are suitable. In fact, a good rule of thumb
is that children are interested in most of the things that adults are – except
they are not used to dealing with concepts. A child may love a book about a
character who is alone, or brave, or funny. They will not be so interested in
loneliness, heroism or humour in the abstract.
Children are also not very comfortable with irony until they are about nine or
ten years old, tending to take the printed word at its face value. However,
when they do discover it, they love it.
The beginning
The next thing to stress is the
importance of the beginning. Many students think that page one is where a
writer finds his feet and that the story proper starts about page six. This is
not true. The first paragraph of a book is crucial. Children invest a lot of
energy in reading a book and they want to be convinced pretty quickly that this
effort is going to be worthwhile. A dull first page means that the book will be
put down, never to be opened again. Even more to the point, perhaps, a busy
editor reading an unsolicited manuscript will also lose interest if the
beginning of the story is dull or confusing and they will make this the excuse
they need to return it immediately. The beginning must draw the reader in. If a
story is the solving of a problem, then the beginning must make that problem
sound exciting and tantalising.
At this
point, it is usually a good idea for the class to discuss strategies for
keeping going with a story. Finishing a story gives a student a great boost and
in itself, is a huge learning curve. Different strategies are helpful for
different people. Some students need a writing routine – a special chair or
table or cup of coffee. For others this is either no use or impossible to
maintain. Some find writing notes at the end of each writing session is
helpful, so that they can more easily get into the flow of ideas where they
broke off. And most people find a notebook helpful, where they can record
interesting ideas and experiences to be used as the raw material for future stories.
If you are able to go into a school and help with reading, this can be a great
eye opener as you will see first hand which stories children struggle over and
which really work.
A vital ingredient
Another vital topic usually covered at
this stage of the course is tension. Tension is what makes you want to continue
reading and without tension, a story is as dull as a meal without salt. Just as
a joke falls flat if the timing is wrong, so a fascinating story can become
boringly muddled if the author does not build to a climax. It is about choosing
selective details and using the reader’s own imagination to create suspense. A
description of the monster’s claw grasping from behind the door is far more
terrifying than a complete run-down of the whole creature.
If you
think of your own favourite childhood story, it is often not the end that
sticks in your mind. It is the bit just before the climax. That is when the
tension and suspense should be strongest. At the end of the story, you can ask
a question or add a twist, to give the impression that your characters will
continue even after the book has been shut.
Talk about getting published
Finally, most students are interested in
the mechanics of getting published, and this is a minefield for would-be authors.
It is difficult to get your work singled out from a pile of unsolicited
manuscripts and while (eventually) good writers are usually discovered, it can
be a long and tortuous process.
There are
things you can do to improve your chances and while they are mostly common
sense, this is probably an area where a good writing class can help. Look in
your local bookshop for the publishers which produce the kind of books you
admire. There is an outside chance that if you like them, they might like you.
Far too many good manuscripts are sent to the wrong places and if a publisher
produces medical books, he or she is not likely to be interested in a
children’s manuscript, even if it is Harry Potter.
Sharing an interest
Perhaps the most important thing is to
enjoy writing and to meet other people who are also interested. That way,
students can keep each other going through the rejections and at the very
least, improve at something they want to do. There are a great many courses
which cater for all different kinds of interests, attitudes and expectations.
The best place to look is probably at the local adult education institute. If
there is no course specifically listed for writing for children, it is worth
ringing up and asking if they would like to start one. You could also put up a
notice in your local library for anyone else who might be interested and as
soon as you are a group, the authority will take notice of you. You could even
start your own independent writing group!
There are
also several residential courses (such as the Arvon Foundation courses), and
they are a very enjoyable and relaxing way to take your ambitions further. Look
on the internet, as these courses constantly change and new ones are added
every year. Several universities and colleges also run long and short courses
in children’s writing and you can achieve a diploma in Writing for Children,
although this would take you at least a year.
So can writing be taught?
The debate will certainly continue, as
people point out that teachers on courses rarely become as famous as some of
their students. However, there are things which are
helpful to discover when you are starting out as a children’s writer. And
perhaps the encouragement of the group will make sure that you continue writing
until instead of your returned manuscript, it is the publisher’s contract that
drops through your letterbox!
Alison Sage is an experienced commissioning editor of children’s books and has
worked for a variety of publishers including Oxford University Press, HarperCollins
and Random House. Alison is also a writer and anthologist and her Treasury of Children’s Literature won the Children’s Book
of the Year Award in 1995. She has run many courses on creative writing for
children for Kensington & Chelsea and Hammersmith adult education
institutes.
See the yearbook for online resources
about children’s books
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