I answer lots of questions about writing: questions from readers, questions from teachers, questions from journalists, even questions from publishers.
Usually when I’m answering questions at author events, I’m too busy thinking about my answers and trying to be both honest and interesting, while also trying not to fall off a stage or stand on the kids at the front, that I don’t really listen to my own answers. Sometimes afterwards I can’t even remember what the questions were, let alone what answers I gave, because it was all so fast and furious and exciting.
And once I’ve answered questions from journalists, I never read the articles or listen to the interviews. I just give them to a trusted family member or friend, and ask them to check I didn’t say anything really embarrassing.
But I’ve had to watch an interview recently – a rather beautiful interview filmed by my publishers for their website, with me standing in front of the maze which stars in the first chapters of Maze Running, and answering lots of questions about writing the First Aid series. I had to watch it to let Floris know I was happy with it before they made it public.
It was really interesting to see how I reacted to some of the questions. I wasn’t worried about standing on any kids (though there was a danger I might fall off the terrace into the maze!) and I knew the lovely Benedicte would let me have another go if I fluffed an answer, so this is probably about as relaxed as you’ll see me talking about writing.
And I found out a few things about myself as a writer.
Firstly, I found out that I’d be useless on a real quest (I said I’d take a pen and paper with me in case I had an idea for another book. So apparently I’d treat a real quest as a way of getting ideas to write a pretend quest. That would be quite annoying for everyone else on the quest…)
I also discovered that I am naturally polite to landscapes. I felt I had to say that my favourite location was Traquair just in case the maze was offended while I talking about it. It is a really good location, and perfect for the start of that book, but I’ve set books in caves and on cliffs, and those are pretty exciting to research and write about. But I didn’t like to mention that in the interview, in case the maze went in the huff.
I did look a little embarrassed about conning academics with questions about fish and seals when really I was researching mermaids and selkies. (Warning, professors – watch out for sneaky authors!
And you can tell that I really care about the characters. I talk about Yann, Helen, Sylvie, Lavender and even the Master as if they were real people. Which of course they are, in my head.
And probably the greatest truth about writing that I utter in the entire interview is one which I must remember when I’m auditioning those ideas for the next novel: “You can’t have a story until you have a baddie!”
But you can tell how relaxed I was at answering questions from someone I like and trust, because if you watch the whole interview you’ll catch me admitting to not getting it quite right in the first novel (though notice I try to blame my heroine rather than myself…)
I enjoy answering questions about writing because I sometimes discover new things about my own writing process (and occasionally I even remember afterwards!) But most importantly, when readers ask questions, I find out what you like in stories, so that’s what I go home to write! (I wonder if I can tell what my publishers would like me to write next, from the questions in this interview? Maybe I should watch it again…)
Anyway, have a look at the interview, and let me know if I said anything really daft! Perhaps you could consider what questions you would ask yourself about your own writing, and what you think you’d find out?
And has anyone else ever felt the need to be polite to a hedge?

Retelling an old story which everyone already knows is a bit scary; retelling an old story almost no-one knows is even more of a responsibility.

My first retelling of a well-known fairy tale – Little Red Riding Hood – has just been published. When I was writing it, I had to decide which bits of the many versions of Little Red I would weave together. I did a lot of research, then chose the elements which were most vivid and which worked best in my voice. So I hope I’ve retold a story which you will recognise, but which will also surprise you. A journalist recently asked me how I had changed the story, what spin or twist I had put in, but that wasn’t what I was aiming to do with this retelling. Every major plot element comes from one of the older tales, though I have told the story in my own words, and I’ve tried to make a few of the things which never made sense to me (why doesn’t she realise it’s a wolf in the bed, not her granny, for goodness sake? Can’t she tell the difference?) seem more plausible (she sees more of the wolf each time she lets extra light into the room: opening the curtains, lighting the fire etc.)

But it’s a huge responsibility retelling a story like Little Red Riding Hood. Children already know it, and if you write something which differs from the version they know, they might think it’s wrong! (Which can prompt interesting discussions with kids about how traditional stories are passed on and changed.) Also, this book, with Celia Chauffrey’s gorgeous pictures, might over the years become some children’s very first experience of Red Riding Hood, so when they read other versions they might think my version is the right one and other versions are wrong… That’s a big and scary responsibility!

But I’m very glad that this story of a tricksy, talking, toothy, people-eating wolf is a story most children already know. Because if they didn’t, they’d probably find it far too scary and gory to enjoy it!

I’m now also retelling some stories which aren’t so well known: six animal tales from around the world (two already published, about a tortoise and a tiger, another four in the next couple of years, including a bear and a fox); a collection of Scottish folktales (coming out next summer, which contains stories I’ve never seen in other illustrated collections); and a collection of heroine stories from around the world (most of which are very obscure.) And that’s a completely different kind of responsibility.

Because I do change stories when I tell them out loud. I deliberately change them so they make sense in my head, so they work in my voice, so they are dramatic in the way that I like a story to grab and hold the attention of an audience. Therefore the story I tell is never exactly as it was when it was written down, a hundred, a thousand or four thousand years ago. And that story, the one I tell out loud, the one I’ve changed to become my story, is the one I write down. I’m always quite honest about that, but now these versions are being printed and published, available on paper for anyone to read, forever… that is a serious responsibility.

With Little Red Riding Hood, if I make a minor change, I know that kids will see another half dozen versions over the course of their reading lives, they will compare those different versions, realise there are many ways to tell a story and decide which is their favourite. But when they read my retellings of the untrustworthy Korean tiger or the Witch of Lochlann or Inanna tricking the god of wisdom, they might never see that story anywhere else. My version will be the only version they know. And that’s a really heavy responsibility.

But I’m not worrying too much about it. These are great stories, I’m writing them as well as I know how, I’m really excited about sharing them and I want you to enjoy reading them. Then if you want to study them more deeply by reading the ancient originals, I’m quite happy to point you in the right direction!

Here is the gorgeous front cover of LRRH, and I’ll update on you on the other retellings nearer the time!

Little Red Riding Hood

I visited Traquair Maze again last week, filming an interview about Maze Running. I’ve been to the maze several times now, the first couple of times to research the novel, then another couple of times for press and publicity things (research is far more fun!) But this time, something had changed.
We came round the corner of the lovely old house, lugging cameras and tripods and copies of the book, and we walked into a
BEAR.
A bear. Just standing there. Ignoring us.
It took a minute to realise that it was a statue of a bear. There were two of them: one bear near the corner of the maze by the house, the other bear near the entrance of the maze. And they were obviously permanent residents – there was even a sign saying ‘do not lean on the bears.’ It’s probably ok to feed them, or tell them stories, though!
They were lovely bears. But they annoyed me, because they weren’t there when I researched the book! So when I described Helen running round the maze, or Sapphire landing between the house and the maze, I didn’t mention any bears. And now someone reading the book who knows the maze, or someone who visits the maze after reading the book, might say: ‘How came Helen never saw those big bears?’ or ‘Why didn’t that writer research the maze properly before she wrote this book?’
I did research it! And if the bears had been there when I first visited, Helen would undoubtedly have used them in some clever way to defeat the Master.
But the bears weren’t there last year. So they didn’t make it into the book, and now the book is already out of date, even though it was only published a couple of months ago.
Does it matter? Is it just one of the risks of using real life places, that they don’t stay the same? It’s happened to me before though…
When I first visited Dunvegan Castle to case the joint for the break-in during Wolf Notes, there was a ‘prisoner moaning’ sound effect in the dungeons which sounded like a monster howling, so I put that in my book. When I went back to do an event about Wolf Notes, they had changed their sound track and the moan wasn’t there any more. (So I read a different bit that day!)
These changes in a location can make me feel like the world is moving my goalposts without telling me. And every time it happens, I think, ‘oh no, I should never revisit locations!’
I never regret using real locations, though, because I want the fabled beasts to have their adventures in the same Scotland we live in!
But sometimes these new discoveries at locations can enhance the book, in a way which is almost magical.
I researched Smoo Cave for Storm Singing in the winter, so there were no boat tours to the inner caves (that didn’t affect my research, because all the action happened in the outer cave and the first cave, which you can see from the viewing platform.)
I went back the next summer, to read the quest in the cave to a group of kids in the cave, and I went on the boat trip too. When the tour guide dropped bread in the water of the dark cave, where I had imagined a giant eel snapping at Helen’s feet, suddenly the water was alive with fish, snapping at the bread. That was a spooky and shocking realisation that what I had imagined – predators under the water – wasn’t very far from the truth!
Locations change, of course they do. That’s bound to happen if I use real life places. Sometime they change in a way which makes my research a wee bit out of date, and sometimes they change in ways which make the adventures seem even more true!
And I didn’t really get too annoyed about unexpected bears. Especially when they were happy for me to read Maze Running to them…

Reading Maze Running to a Bear

Unexpected bear, at Traquair

I’m often asked at author events whether my own children give me ideas or help me write my books.
And the answer is no, they don’t give me ideas (if they have good ideas, I hope they’ll write those ideas themselves!) but I often have ideas when I’m with them. In fact two of my picture books and all my novels were inspired in some way by my two girls.
They are hugely helpful in lots of other ways too. They read kids’ books, then recommend the ones they really like to me. (And they put some kids’ books down after just a few pages too, and seeing what books don’t grab them is just as useful to a writer…)
They are very useful at suggesting character names: they get credit for Roxburgh the selkie in Storm Singing, for example, and I brainstormed a few of the dragons in Maze Running with them too.
They let me read them early drafts of all my books, and reading out loud to them is a great way of gauging whether the book is working. Sometimes I scribble in the margin “this bit is boring” because I can see them losing interest. Then I ruthlessly edit that bit before it gets anywhere near paying readers!
As they are getting older, they have even started proof-reading my manuscripts on paper. My 9 year old read Maze Running with a red pen, and made some very helpful comments and criticisms.
But the main thing they do is show enthusiasm for stories. They get angry with me when I’m cruel to characters or put them in difficult situations. And if they get all excited about a story, then I know I’m on the right track.
When I was writing the animal tales for Barefoot many months ago, my younger daughter enjoyed my version of the tortoise story so much that she retold it on the living room carpet, as I was reading it out, with playmobil figures. So here is the wonderful tree, inside the circle of hungry animals (not all the animals are from Africa, to be fair, she did adapt it a bit!) The Tortoise’s Gift brought to life.
And when I’ve just burnt tea because I was scribbling down a ‘what if’ and I know I’ll be up past midnight trying to meet a deadline, then seeing my words inspire this sort of play makes it all worthwhile.
So yes, my kids do help. But not always in the way you’d think!

The Tortoise’s Gift, by the power of playmobil

At the Edinburgh Book Festival earlier this week, I was sitting at a signing table looking at a long line of First Aid For Fairies fans (I knew they were fans, because most of them were cuddling a stack of slightly dog-eared books) and I had to think of something personal, interesting and appropriate to write in each book.
Because Maze Running is the last of the series, I asked most of the readers “Who’s your favourite character?” so that I could write in their book: “Thanks for coming on x’s last adventure.”
I’ve been asking that question in all the events I’ve done this summer, and I’ve been surprised to discover that pretty much every character has fans. In a line of readers there will almost certainly be Helen fans, Yann fans, Sapphire fans, Rona fans, Lavender fans, Catesby fans… There might be fewer Sylvie, Lee, Serena and Tangaroa fans, because they don’t appear in as many books. But even so, I think almost every character in the series is somebody’s favourite. At the Maze Running launch, I even met a boy whose favourite character was the Master of the Maze!
And I’ve met, or seen pictures of, children dressed as various First Aid For Fairies characters for World Book Day (I’ve met Helen, Lee, Lavender and Rona, but I wonder if there have been any others? Any phoenixes? Any centaurs? In fact, I hereby promise to send a free signed book to the first person who can prove they’ve successfully dressed up as Yann!)
I have my own favourite characters too. But I wonder whether I like my characters for the same reasons readers do?
Do some readers like Lavender or Rona because they like the idea of being a fairy or a selkie? Do some readers like Sapphire because all dragons are cool? (As well being as fiery hot…) So now my signing queues could get even longer, because I might start asking not just: “Who’s your favourite character?” but also: “Why?”
As a writer, I like my characters for lots of different reasons. For example, a particular character might be very useful when I’m writing the story: Sapphire is incredibly handy as transport, Yann is great for kicking doors in, Lavender is very easy to injure (sorry), Sylvie can be relied on to disagree with pretty much anyone. And there wouldn’t be a First Aid for Fairies series at all without Helen to be our guide in that world, or all those nasty baddies making the adventures necessary.
But I don’t just use my characters to push the story along, I enjoy their company too. So my truly favourite characters are the ones whose voices I can hear in my head, who seem to come alive as I write and who surprise me by doing things I don’t expect. For that reason, Yann is my absolute favourite because he argues with me all the time (I can sometimes actually hear him shout at me) and I’m also very fond of Lee, because I never quite trust (or understand) his motives or indeed his world, which is a very interesting position for a writer. And outside the First Aid For Fairies series, I love Emmie in Rocking Horse War, who changed that entire story by putting her hands on her hips and giving me a cheeky smile.
So, who are your favourite fabled beast characters, and why? And do you think writers and readers like characters for different reasons?

Maze Running signing queue at Edinburgh Book Festival 2012

I just looked at the very first folder for Maze Running, created when it was still called First Aid Four, and when I was working on each chapter individually, rather than in one big manuscript.

Looking at the names of the chapter files, you would think that I never sat at my own desk:

• One chapter was started in a primary school staffroom (Chap 6, Priorsford)
• Another was started in a primary school general purpose room between author events (Chap 17, Troon)
• At least three were written on long train journeys
• One was started in a train station in Lanarkshire when I on got the wrong train and was stuck in a waiting room for a couple of hours
• One quest was completed on the platform at Dundee train station
• One chapter was written in a hotel when I was doing a book festival in the North of England (Chapter 20, Durham)
• One was written in a B&B in Gairloch, in the far north west
• Another was finished in a guest house in Wigtown, in the far south west
• One was started at Meadowbank Stadium in Edinburgh
• “Chapter 11, Mitchell” suggests that I injured a dragon in the Mitchell library (quietly!)
• Three different chapters are titled “ballet” because I started them sitting on cold steps outside my daughter’s ballet class.
• And another is called “Argyll quest at ballet exam” because I wrote part of the fourth quest while my daughter was sitting a ballet exam.  (She passed.  Helen and the fabled beasts didn’t do quite as well!)

In Maze Running, I send Helen and the fabled beasts on seven different quests, missions and rescues, to the south, north and west of Scotland.  But I’ve realised that the book was written in even more places than that!

So, does this mean I spend too much time away from my desk? Am I not taking my writing seriously enough? I don’t think so, because I don’t need a desk to write – I just need my netbook, or a pen and a bit of paper.  Or I can even just scribble on my other hand, or a napkin…

Does it mean I’m only inspired to write when I’m out and about, rather than at my desk, and should get out more often? I don’t think that either! I write a lot at home too, but because I’m not transferring those files from one computer to the other, I don’t give them such detailed names.

It really just means that my three jobs – being a writer writing, being a writer talking about writing and being a mum – are all part of the same life, rather than neatly separated.  So I take whatever book I’m writing with me everywhere I go, and write it wherever I can.

It also shows that I can have really good ideas when I’m sitting outside a ballet class, or in a cold train station.  Even if I am typing with gloves on.

I write fast-moving action and set my books all over Scotland, so writing on the run and in lots of different places is probably very good for my stories. And I write for 8–12 year olds, so working out how I’m going to start the next chapter just after speaking to P5 about cliff hangers and just before speaking to P6 about chase scenes, is probably the best way to write!

I wonder where I’ll write the next book?

tools for writing on the run: netbook, notebook, napkin

It’s less than a month until the launch of Maze Running, the fourth and final book in the First Aid for Fairies series.

The fourth and FINAL book.

And right now, I’m asking myself: Why is it the final book?  This is a successful series, with lots of fans, with recognisably stunning covers, set in a world where I could easily have found dozens more adventures.  So why have I stopped?

Was I bored? (No! I love this world and these characters.)

Did my publishers say, nah, that’s enough thanks. (Not to me…)

Was I running out of readers? (Nope, not that either!)

So why, as a new-ish writer, trying to build a career as a real proper writer, have I stopped writing a successful series?

It’s a bit daft, really. I have strong characters I enjoying working with, and a formula which could repeat endlessly in different parts of Scotland, with different baddies and different magic.

But that’s really the point: I don’t want it to become a formula.  I want each of my books to be original and different, not to feel tired and samey. And while I don’t think I was anywhere near that with the First Aid series, I suspect I would have got there before I hit double figures!  So I wanted to stop while the books were getting steadily stronger and more exciting.

Some of my readers are a bit upset, even politely annoyed, that I’m ending the series here, but actually that’s quite good (sorry!) because I want to leave you wanting more.  Perhaps you’ll go on to make up your own stories set in the fabled beasts’ world. I also hope you’ll wait eagerly for whatever I write next…

Another major reason for ending the series here is that my characters kept growing up.  Because I have been very specific about each adventure’s time of year, there have been months between each book, and Helen and her friends are now all more than a year older than they were in First Aid For Fairies And Other Fabled Beasts. If I kept writing about them for another few months, and honestly reflected their lives and concerns, I wouldn’t be writing for 8-12 year olds, I’d be writing for teenagers, which I’m happy to do, but not within this series.

Also I don’t want to get too comfortable with these characters, nor do I want to tread the same paths with them again.  I know them really well, and I’ve taken several of them on tough emotional journeys, as well as dangerous quests.  I don’t want to artificially push them backwards just so we can watch them develop all over again. (Yes, Yann, I’m talking about you. And Lee and Rona, and maybe even Helen.) I want to meet and work with NEW characters.  Though I really am going to miss these ones.

I don’t want to be pigeonholed as a writer either. I want to write lots of different kinds of books (which I’ve possibly achieved already with picture books, retellings and teen novellas.)  But I want to write other novels too – my only standalone novel Rocking Horse War sometimes gets a bit lost amongst Helen’s adventures, so I want to concentrate on other ideas like that for a while.

So, sorry to all the First Aid for Fairies fans out there.  No more books about Helen healing her fabled beast friends at specific seasons of the year.

This is the end.

But I think it’s best to go out with a bang!

And here’s the cover of Maze Running. What do you think?

I’m sitting on the fence today, not sure if I’m a picture book author or a novelist. I launched my new picture book, Orange Juice Peas, at the end of April and I’m already starting to think about the launch of Maze Running in June. So I’m going to spend the month of May being a wee bit confused about who I am. Do I write books about peas, bananas, babysitters and giggling, or do I write books about monsters, magic, danger and quests?

The answer of course is that I do both, often on the same day, and that I only occasionally get confused. But why do I do both?  And is there any difference, for a writer, between them?

The main difference for me is that I spend so much time with the characters in a novel, often months, sometimes years, that I know them as well as my family and friends, and care about them almost as much too. I don’t spend nearly as long with the characters in a picture book, so however fond I am of them I don’t know them as well. In fact, I don’t really know them at all until I see their pictures. That feels like the moment I first meet them, which can be a year or so after I write the book!

Also, I don’t have to describe the characters in a picture book, or everything that they do, because the reader can see them on the page (I may have described the characters and the action in illustrator’s notes when I came up with the idea, but those notes aren’t part of the finished book.) In a novel I have to give the reader a lot more detail, because the reader has to make the pictures of the characters and the action in their mind (the very best kind of pictures, I think!)

And the words in a picture book are still a work in progress until they are married with the pictures, because the illustrations are just as much a part of the story as the text.  The cover of a novel, however,  is designed to draw you into the story, it’s not part of the story.

And why do I write both? Because I always want to find the best way to tell a story. When a “what if” pops into my head, I want to explore it in the best way for that question. If the question is about whose bottom this is, or who is going to eat what ice-cream, then it’s probably a picture book; if the question is about why someone has just kidnapped your brother and sisters to use in a magic spell, or why there’s a thieving jellyfish trying to strangle a camp full of scouts, it’s probably an adventure novel!   Also if there is only one problem to solve it’s probably a picture book, if there are lots of problems it’s probably going to take a bit longer!

So it’s usually clear to me whether a story idea is a novel idea where I will build the pictures for the reader to see, or whether it’s a picture book idea where I build the structure for an artist to create the pictures.

So, picture books and novels look very different on the shelf, and they are quite different for the writer too. And right now I have a picture book idea AND a novel idea in my head. Which should I go and scribble down first?

picture books vs novels!

Here are all my picture books and all my novels so far. They do look quite different! Which pile looks more fun to write?

I’m just recovering from the most emotional edit I’ve ever done.
Normally edits are about reducing wordcounts, tightening language, cutting repetition, checking facts, filling in plotholes, and generally telling the story in the best way possible.
And yes, that is what I’ve just done with Maze Running. I found some silly mistakes (I sent a dragon called one name off on a quest, and brought a dragon with a different name back! It’s ok, I noticed and sorted it) and I found a few last minute plotholes (one of which I covered up, literally, with a cloak – handy things cloaks.) I replaced weak wobbly words, made sentences clearer and took out dialogue that wasn’t necessary for the story. I also made a few tweaks to answer questions from my editor. She’s excellent at noticing things which I don’t explain clearly enough, or explain far too often, or which I can’t explain because they don’t make any sense.
By the time I sent the manuscript away a few days ago, it was shorter, clearer, faster and more exciting than the draft I finished at the end of last year. So the editing went really well.
But I was miserable. Actually (and don’t tell anyone this) I was sniffing, wiping my eyes and blowing my nose a lot.
Why? I’m happy with the story and I’m excited about sharing it with people. So why was I sad and upset?
One reason is because my relationship with a book alters once it’s sent off to the printers. I always find it a bit weird reading the printed version of my novels, because I can’t change them any more. If I suddenly think of a different way to express what’s happening, I can’t do it. I have no power over the story any more. I’m not really the writer any more. Just the person who wrote it.
So the final edit is slightly terrifying, because it’s my last chance to get it right. My last chance to spot mistakes, but also my last chance to do the story and the characters justice. Once I’ve sent it away, that’s it. I can’t make it any better. So that’s why the last edit of every book is nerve-wracking.
But with Maze Running the emotional wrench was ever harder. Maze Running is the fourth and FINAL book in the First Aid series. This book is the last adventure I will write about Helen, Yann, Lavender, Rona, Sapphire, Catesby, Lee and the rest all together.
If you think you’re upset about that (and I’ve already met readers who are a little bit annoyed with me for ending the series! But I’ll explain why I made that decision in another blog post soon…) So if you think you’re upset, just imagine how upset I am. I’ve spent more than five years of my life with these characters. I know them better than most people I meet in the real world. I hear their voices in my heads. I put them in terrible situations (worse situations in this next book than any other, sorry guys) and I trust them to get back out again. I work with them, listening to their reactions, letting them guide and sometimes even change the story. And now I’m done. Now I won’t write about them ever again, not as a group, not in this way, maybe not in any way at all.
And it was my decision. I feel like I’ve left them. Which makes me feel sad, guilty and almost like I’m grieving.
I know I will read their adventures out loud at book festivals and in author events. I will read the cliff-hangers, the quests and the fights. But because I won’t be able to change one word of what’s on the page, then I won’t be writing them any more. I’ll be reading them instead.
First Aid for Fairies was my first book. I owe these characters a lot. I really enjoy being with them. And when I handed the manuscript to Floris earlier this month, I was saying good bye to them.
That’s why this edit was highly emotional, and very sad. But also very exciting. Because who knows what I’ll write (and then edit) next…

I’m in the middle of lots of school visits around World Book Day, which you’d think would only last a ‘Day’ but seems to last at least a fortnight!

One of the best things about lots of school visits is lots of great questions from pupils.  I answer questions at the end of every session, so I probably answer dozens of questions a week, possibly even hundreds a week at this time of year.

What amazes me is I’m still being asked new, original and surprising questions.  There are questions which come up pretty much every time (when did you become a writer, how many books have you written, what’s your favourite book?) but I’m impressed that kids are still asking questions which I’ve not heard before, questions which make me think hard about my writing process.

The best question I got on World Book Day was from a pupil at Stockbridge Primary in Edinburgh, who asked: “What’s more important for a writer, imagination or knowledge?”  I thought that was fascinating, because creative writing teaching often concentrates entirely on imagination, but a story won’t be convincing if it’s full of errors. On the other hand, if you have lots of facts, but no flash of inspiration bouncing off the facts, then you haven’t got a story.  I came to the conclusion that both imagination and knowledge are vital, but that I start with imagination then fill the gaps with research.  New writers are often told to “write what you know” but if I only wrote what I know, then I’d write boring books about making packed lunches. Instead I allow myself to imagine stories about injured centaurs or living rocking horses, then I research the time or place or biology and write about the NEW stuff I know.

Another question I was asked recently at Westercommon Primary in Glasgow was: “How do you know when a story is finished?”  That’s a brilliant question, because we spend a lot of time thinking about good ways to start stories, and we may not think hard enough about how to finish them. I explained that my stories are finished when my characters have solved the main problem.  Because it isn’t a story without a problem: a mystery, a quest, a baddie to be defeated.  You spend the story trying to solve the problem, and once it’s solved, the story is over.  Boom.  The End.

A pupil at St Mary’s in Glasgow asked: “When you reach a certain age, will you want someone else to continue your work?”  That made me laugh, because I never want to reach a certain age… But the serious point we discussed was whether someone else could carry on my work, indeed any writers’ work, or whether it’s individual to us.  If a person’s life work is campaigning for animal rights, or planting a forest, or running a jam factory, someone else probably could continue it, but no-one else could write my stories.  Not exactly the way I write them.  Because my stories come out of my thought processes, my experiences, my way of research, and my own individual (hard to explain and impossible to replicate) flashes of imagination.  That’s the magical thing about writing: we all write differently.  So no, if I ever reach a certain age and stop writing, that will be it.  No more Lari Don books.  I’d better get a move on and write another one while I still can!

I’ve been asked other fascinating questions in the last few weeks, but my author events are noisy and fast moving, so I don’t often remember the exact questions afterwards.  If you asked an original question which I’ve not mentioned – sorry!

And if you can come up with a question which you think no-one has ever asked me before, please do ask it!  You don’t have to wait until next World Book Day or until I visit your school, just post a comment here or email me on: info@laridon.co.uk

And if any other writers want to share the best or most original questions they’ve been asked, I’d love to read them!