Writing Children's FictionChildren's literature writing
Children's Books - Anne Wan Part 2: Writing Interviews - Wellington - Allison Symphes
Anne Wan, the vernacular writer of children's books, spoke last weeks about why writing for kids is so much enjoyable and what she learnt from her first novel Secret of the Snow Globe: Part 2 divides her three top hints for authors and what she hates and likes about writing. It can be difficult to find enough writing the next one, because you have to reconcile it with the actual book's brand.
It' in the heart of writing!). ANNIE: Who are your favorite authors and why, Anete? Then Enid Blyton was a big part of my early readings (especially The Famous Five and Malory Towers). I' ve always loved the story and so as a young grown-up I mainly studied the classic songs (Shakespeare, Jane Austen, Bronte and Dickens).
Now I mainly like reading storybooks! Did you always want to start writing or was it something you almost "fell into" by chance? This I asked Anne because I needed two great biographies - 30 years old and the delivery of my boy - to turn my passion for storytelling into writing.
She' re Anne: When I was a kid, I liked to put down a lot of good things. I had Mr. Long, who used to live in Long World etc., and I liked the notion so much that I thought I had to do it. I' ve been a peasant maid and wanted to be outside all the while, so the thought of writing for a livelihood didn't dawn.
Are you a fan of editorial work? Okay, then, why "yes"? ANNEMIER: It's satisfactory if the work can be better. I have also learnt to fill holes in history where I may not immediately know the answer and make the remainder of the history. I' m thinking of working on a tale is a little like a sculptress taking a sculpture to a piece of masonry.
Some large "editing blocks" are necessary, others a finer note to refine what you have. That' s why so often the answer to a storyline issue occurs when you're working on something else. Okay, Anne, then what about the "no"? - I would like to emphasize that this is a common quotation from Anne and myself.
ANNIE: You can come to a point where you never really stop working on a work and you have to let it go. Whenever I have a history on paper/screen, I always sense a certain amount of easement because I know that I have something to work with.
I' m inclined to go through what I have and do much of the tedious tech work. I' ll do the credits of the edit before going through the whole thing again and looking for anything I may have overlooked. Anne, how long did it take you to complete your script from beginning to end?
So I guess I spend about a year reflecting on things and working them out, especially the right style for my storyline. After I finished, I spend six months writing the real history, and then another year was needed to do all the editing. I found out that this accelerated the writing itself.
I began my work with two nurses as the protagonists. That says to me that you have learned from the way you have written the first volume and from the writing that you have experienced! And I think you'll find out how to spell better with every book/history. Yes, I would definitely rather be writing than selling!
A few years ago, editors decided to allow merchants to buy the work at any cost where they had to calculate the cost of the work. Which writing festivals/workshops did you find most useful and why? They must still really like your storyline and think they can resell it to accept it!
I am now discussing the publication of your work and not the fundamentals of fiction writing, where I began with Winchester. What would you mean by "good" reading? I' m also sketching my own fast-fiction plays, because even with them it's still simple to start at a strait that doesn't help the game!
In my work I have a tendency to visualize the mound of stories as I work out the action and arrange the order of things. I' often know the beginning and the end of the tale quite quickly. See or listen to your figures writing? The My Secret of the Snow Globe will be a set of three volumes, so with Volume 2 (which I'm just finishing) I had to make sure that it's a narrative in itself, so it makes perfect reading for those who haven't been reading Volume 1.
Early on I wrote a short review in book 2 and put so much into it that it is clear what is going on. I' m currently working on book three. I' m looking forward to writing other shows and would like to see if I can do something with my libretto.
I' d also like to make a show about the horse and also about topics like technique, which could be interesting for cubs. hooting Star (book 2 in my series) at Waterstones in West Quay, Southampton on Friday, September 29 from 6.30 to 8.00 pm. Anne, thank you very much for a great interviewee and good luck with the presentation of the year.
is a relatively inexpensive way of talking. See Chandler's Ford author Allison Symes in interviews: Check out Allison Symes' blogs on Chandler's Ford Today.