FAQs

How do you write a teenager that feels authentic?

I use the same method as I do to get inside any character’s head; I imagine I am that person. I think about challenges they may face and how it might feel. And after all, most authors are at an advantage when it comes to writing for children and young adults . . . we have all been there! So, for me, it is taking some time to think back, to put myself in that younger mindset once more and think how certain issues or events might feel.

So in my latest book, ‘928 Miles From Home,’ there is a character called Sergei who comes to the UK from Poland with his mum. I invested some thinking time and put myself in Sergei’s shoes; he didn’t care about making a better life in another country, like his mum said they’d have. He was more concerned and upset about leaving his best friend, his pets, his grandfather.

I think these things would be uppermost in any young person’s mind and I hope the reader will agree and empathise.

Are there any touchstones you use to make your characters come alive first for you and then your reader?

I always begin by setting aside some space to become the character and I begin by thinking in first-person, even if ultimately I know I’ll be writing them in third-person POV. I begin by free-thinking and then graduate to free-writing where I just write about anything at all but from my main character’s POV. That really finds their voice for me and once I have the voice, everything else – like back story – soon follows. I like to get to know my characters well and, even if I don’t use all the information I collate about them, I feel it somehow gives a depth and authenticity to the writing which the reader can sense.

Do your characters appear three dimensional with a story in your head immediately, or do you have the character then work on their story, or vice versa?

The character voice always comes first for me and the main character is usually strong from the outset, although I wouldn’t claim they are immediately three-dimensional. That takes extra thinking time, ‘simmering’ as I call it, prior to starting to write. Once I feel I have a handle on the character, the next stage, for me, is to think about some of the things that might happen to them.

In my second book, ‘A Seven-Letter Word,’ Finlay, the main character, has a debilitating stutter. When I felt I had a good sense of his character, I began to think about some situations he might find himself in. The only way you can hide a very bad stammer is to not speak, so I asked myself, what would be the worst place you might have to go? And the answer came; school. Because it’s a very difficult not to speak at all. So I have lots of scenes in school with challenges that Finlay is forced to face on a daily basis.

Your protagonists are all around 14 years old – what is significant about this time of life?

I think it’s quite a profound time in a young person’s life. It’s an age when they begin to form their own opinions and maybe question others’ opinions too, maybe they start to think about what they’d like to do in the future for the first time when choosing option subjects at school.

Without doubt, around this age can also be a frustrating time; difficult relationships at home and school and feeling more grown up but still getting treated like a kid. For an author . . . very interesting material!

There is also the consideration that younger readers tend to like to ‘read up’ a couple of years. I’d say my books are probably most popular with 11-12 year olds, so having a 14 year old protagonist fits just about right.

Is it important for the reader to like the main character in a children’s book?

For YA, I think so, yes. I tend to naturally write flawed characters who often have facets of their personality that are not so likeable – on the plus side, I feel this makes them seem rounded and more realistic. I want the reader to understand the protagonist, empathise with them; even if they don’t necessarily condone or agree with some of their behaviour.

But one should remember that young readers tend to place themselves in the shoes of the main character, so for this genre, there must be a lot to like in the protagonist, I think.