David Fickling, editor of A Boy and a Bear in a Boat by Dave Shelton
End note?
People always say that a story must have a beginning, a middle and an end. If that is true then by far the most important part is the end. Before you set off on a writing project it saves a lot of time to have the end in sight. That doesn't mean you have to know exactly what is going to happen at the end of your story, but you should have a sense of the ending note in mind. This may also help tell you how long your text is going to be. And you don't need to tell the editor or publisher what will happen or what it's about either, that's your business. All the editor or publisher really needs is the reassurance that there is an ending and that the narrative will be good. Editing is all about trust.
Enjoy the journey
The reader must enjoy the journey and so must the writer. A reader will go almost anywhere in the company of a writer they enjoy reading (which is why good writers are tempted to write without ending). The hardest part is probably bashing out the first draft. You need to get it down on paper. And you need to get to the end (as in tip one). Don't let yourself get distracted. You know where you are going. As a new writer you need to gain the confidence that readers like reading you. Sometimes it's not until you get to the end of the first draft that you can see what's wrong with it. The second and subsequent drafts become more and more enjoyable for the writer. And an editor should be good at giving you confidence on the sometimes long journey. At the end you will have something wonderful. It really is worth the trouble to get it right.
Performing
All writers are performers, performers on the page. Like an actor you must keep the reader's attention. You can do this by being soft as well as loud. But you are also the playwright. It is the overall drama or comedy that will really compel the reader so you must never lose sight of the entire story as you write the individual parts. If you can make the reader laugh or cry, or feel in all the myriad ways then you will be writing powerfully. If you can at the same also help them learn things for themselves, then you will be writing deeply. Reading is a very active process, so don't tell readers, show them. They will stay with you if you are engaging their interest.
Finishing off
Once you know the ending, then by far the most important task is to finish your work. Many good writers start off and fall by the wayside through lack of determination. Many bad ones think they have finished before they have. Only the good ones complete the course. Remember that "finishing" does not just mean filling pages with writing or saying "I've finished!" You should listen to the editor at this point. You are making a work of art for the reader. It ought to be really, really good to be worthy of publication. Try not to take rejection too hard. Good editors are always on your side. Becoming a writer is learning to become your own editor.
Mara Bergman, editor of Daylight Saving by Edward Hogan
My top tip for writers is: believe in yourself and in what you are writing. Don't waste time writing what you think you should be writing or what someone else thinks you should be writing. Write from the heart and enjoy what you are doing! Good writing, like playing a musical instrument or doing a sport, requires lots of practice so write as often as you can. Keep a notebook; you never know when you'll need to jot down a thought or a line from a conversation you happen to overhear. Remember that rewriting is as much a part of the process as setting down your first draft. Rewrite, then rewrite and rewrite again. Above all keep on writing – and don't give up!
Julia Wells, editor of The Things We Did for Love by Natasha Farrant
The best books are those that make the reader feel as though they are actually in the story with the characters. These books are exciting and impossible to put down. My top tip for creating a story that does this is to tell lots of the story through action and dialogue. While the use of description can allow the reader to picture a scene, too much description can make the story seem slow and boring. The reader will feel as if they are actually in the scene if they experience it through the characters' eyes, feeling what the character feels. So instead of telling the reader that the character is scared, try to show it through the character's actions and what they say. Is she shaking? Is he breathing quickly? What sounds do her feet make as she runs away? Is he stuttering when he speaks? Include details that appeal to all the senses - smell, feel, see, hear - and your reader will be hooked!
Janetta Otter-Barry editor of There's a Hen in the Wardrobe by Wendy Meddour
My top tip is: write a story about something that really interests you – not what you think other people will want to read. Also, If you're writing for readers aged 7-11, which is the age group A Hen in the Wardrobe is written for, then keep your chapters short, and end each chapter with something punchy, or dramatic, or funny, that will make the reader want to read the next chapter. In A Hen in the Wardrobe, the chapters often end with something funny that Raffi or his dad has done – like when Raffi's dad is sleepwalking, and is out in the garden at night in his pyjamas! It makes you smile, and you want to know what will happen next. Wendy Meddour, the author, keeps you wondering whether Raffi can solve Dad's sleepwalking problem right to the very last chapter of the book.
Simon Mason, editor of Black Arts by Jonathan Prentice and Andrew Weil
Don't be afraid to make mistakes
Indeed, take risks, experiment. Writing is a form of play. You'll often fail – but you'll learn by failing. See what happens. Don't be frightened.
Take pains
Some writers produce books without effort. Curse them. This is not the usual way of things. Most really good writers work very hard. If something isn't working (and you'll know it isn't, deep down) don't ignore it, do something about it, change it or get rid of it, or do it much better. Take advice. Don't just take advice, demand advice. Ask people what they don't like about your book. And when they tell you, don't feel down. You have the power over your book, always. You can choose to listen to criticisms (because they're good) and you'll make your book better as a result. Or you can choose to toss the criticisms away (because you've decided they're no good): that's fine too. But put yourself in the position of being able to consider criticism.
Read
Not all writers read much. But there are few better ways of learning and being inspired. Learn from books you like – and books you don't like. Bad books are great to learn from, just ask yourself why they don't work.
Sarah Odedina editor of The World Between Us by Lydia Syson
Top tip. Be yourself. Write what feels real to you and don't allow your admiration for other people's styles to influence you too heavily. Develop your own voice and make it real!