International Friendship Day - A Chat with Alexa Tewkesbury

A new writing project always gives me a tingle. Thinking about it; planning it. Allowing my imagination free rein to explore various story permutations. But actually getting down to the writing? That I find just a little bit scary. It’s that initially blank Word document. And the voice that says: What happens if I sit here all day and after eight hours, I’m still looking at a blank document? But then I remember the potential characters who will bring the story to life and my brain relaxes (a little). In my writing, I’m certainly more driven by character than plot. Years ago, I wanted to write and perform silly monologues delivered by eccentric individuals, hugely influenced as I was by the brilliance of Victoria Wood and her TV shows from the 1980s. (I still have some of my scribbles from those days!) So the characters in my books are generally the true starting point for the story. I love to watch them develop and grow – then see what happens as they begin to interact with one another.

I’ve written a lot about friendship groups. I like to include families as friendship groups in my writing too. Obviously a good story needs conflict, so disagreements and fallouts are important to drive the plot forward. And in reality, being friends with someone isn’t always plain sailing. But then comes the resolution. For me, when writing for children, the resolution – the reconciliation – is what really matters. I want children to see that friends and families do argue and they do fall out, but that doesn’t mean those friendships have to be broken forever. We just have to look for the way forward until we find common ground again. It can be tough, it really can. But we can choose to forgive.

1. What’s your favourite thing about writing for children?

I think what I love most is the surprise. Children’s stories, perhaps more than stories for adults, can take you anywhere. There’s no limit to the worlds a children’s author can create because children are less inclined to impose limits on their imaginations. Stories can reflect life or be utterly fantastical and child protagonists can be the superheroes. When I write, I get excited when a story takes on a direction of its own, although I imagine that applies to writing for adults too. I can have the chapters mapped out, but then a character may do something or say something that opens up another whole aspect of the adventure. There’s also a real privilege to being able to introduce a child to thoughts and concepts – things that may cause a spark in their own imaginations and help them to grow. How wonderful to be the author of a book that makes such an impact in childhood that it’s never ever forgotten.

2. What have you learned about yourself through writing books?

I’ve discovered that I do have a tenacity – a kind of stickability that pushes me to see a story through to the end. Even on the days when it’s hard to write and I feel as though I’m literally having to drag words out of my head, that impulse is there – I can’t let this beat me. Of course, having a deadline helps! And as I’ve grown older, I can also see how various events and experiences have provided inspiration for some of my stories. Even what’s seemed ‘normal’ at the time can be tweaked and turned into something to raise a giggle. My life has certainly been a lot funnier than I realised!

3. You’re an editor too. How does this complement your work as an author?

The two feel like a perfect fit. It makes sense to me that every aspect of my work is about words. When I edit and proofread for other writers, I tend to read their work aloud (so it’s a good job I work alone in my business!). Reading aloud helps me to spot errors on the page but it also allows me to pick up anything that might jar with a reader – things like word or phrase repetition or sentences that meander rather than keeping to the point. Editing and proofreading have taught me that the rhythm and flow of words – the way they sound when put together – is just as important as correct spelling and punctuation. I don’t know whether this makes me more critical of my own writing, but it certainly makes me aware of how each sentence scans. I always have a very particular sound and rhythm in my head that I try to achieve with each book. I’m also pretty ruthless with my own writing these days, although I used not to be. But over years of editing and proofreading, I think you do develop a critical eye, although hopefully with a positive slant. You see how to draw the best out of another writer’s words and aim to apply the same treatment to your own. If what I’ve written doesn’t sound right to me, there’s no point in being sentimental about it. It has to go.

4. Which children’s books do you wish you’d written?

Tom’s Midnight Garden by Philippa Pearce. I read it as a child and still revisit it from time to time. It’s so beautifully conceived and has embedded itself in my imagination – so much so, that when I’m out and about and see a particular type of old house, my first thought is always, ‘That’s a real Tom’s Midnight Garden sort of house’. If I’d written it, I’d be a very happy author! The Owl Service by Alan Garner is another favourite that has never left my head since childhood. I’d also feel pretty pleased with myself if I’d written Holes by Louis Sachar. The way the story elements fit together is just genius. And my list wouldn’t be complete without the incomparable David Almond. Had I written Skellig – well – how happy I would be. I like to think that the writing of it made David Almond happy too.

5. What advice would you give anyone who would like to write for children?

Read! As much as you can. Life is busy and I don’t read nearly as much as I’d like to. But finding the time somewhere is vital. If you want to focus on a particular genre, then filling your mind and thoughts with the shapes, plots, characters and styles of other brilliant authors in that genre is key to creating your own stories and your own style. That’s not to say you should copy them. But seeing what other authors are writing about, the themes and people they focus on and how they construct their work is such a springboard for any writer – would-be, new or established. It’s like brain food. Fertiliser for the imagination. It’s also important to keep up with current trends. If you want to write for children, you need to know what they’re reading. And let’s face it, reading children’s books and discovering what’s inside other authors’ heads is a really fun part of knuckling down to write.