As written for The Guardian by Michael Morpurgo, author and playwright.
1 The prerequisite for me is to keep my well of ideas full. This means living as full and varied a life as possible, to have my antennae out all the time.
2 Ted Hughes gave me this advice and it works wonders: record moments, fleeting impressions, overheard dialogue, your own sadnesses and bewilderments and joys.
3 A notion for a story is for me a confluence of real events, historical perhaps, or from my own memory to create an exciting fusion.
4 It is the gestation time which counts.
5 Once the skeleton of the story is ready I begin talking about it, mostly to Clare, my wife, sounding her out.
6 By the time I sit down and face the blank page I am raring to go. I tell it as if I'm talking to my best friend or one of my grandchildren.
7 Once a chapter is scribbled down rough – I write very small so I don't have to turn the page and face the next empty one – Clare puts it on the word processor, prints it out, sometimes with her own comments added.
8 When I'm deep inside a story, living it as I write, I honestly don't know what will happen. I try not to dictate it, not to play God.
9 Once the book is finished in its first draft, I read it out loud to myself. How it sounds is hugely important.
10 With all editing, no matter how sensitive – and I've been very lucky here – I react sulkily at first, but then I settle down and get on with it, and a year later I have my book in my hand.
1 The prerequisite for me is to keep my well of ideas full. This means living as full and varied a life as possible, to have my antennae out all the time.
2 Ted Hughes gave me this advice and it works wonders: record moments, fleeting impressions, overheard dialogue, your own sadnesses and bewilderments and joys.
3 A notion for a story is for me a confluence of real events, historical perhaps, or from my own memory to create an exciting fusion.
4 It is the gestation time which counts.
5 Once the skeleton of the story is ready I begin talking about it, mostly to Clare, my wife, sounding her out.
6 By the time I sit down and face the blank page I am raring to go. I tell it as if I'm talking to my best friend or one of my grandchildren.
7 Once a chapter is scribbled down rough – I write very small so I don't have to turn the page and face the next empty one – Clare puts it on the word processor, prints it out, sometimes with her own comments added.
8 When I'm deep inside a story, living it as I write, I honestly don't know what will happen. I try not to dictate it, not to play God.
9 Once the book is finished in its first draft, I read it out loud to myself. How it sounds is hugely important.
10 With all editing, no matter how sensitive – and I've been very lucky here – I react sulkily at first, but then I settle down and get on with it, and a year later I have my book in my hand.
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