When you're working on a story, it's likely you'll begin with an instinctive go at POV. You'll feel you need to be close to the action, say, and will default to the first person.

Later on in the writing, though, you may realise that you've been inconsistent. Sometimes you're writing as if your narrator can moralise about the action, and sometimes they're still having their head spun.

These three simple questions, with explanations, will help you clarify any Point of View - and so make it easier to write consistently.

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It's very easy, when you're starting to write, or starting on a new project, to get hung up on tone, style and voice.

Are they different? Should you concentrate on one rather than the other? How do they fit with Point of View?

Here are some simple distinctions between tone, style and voice, and some advice about how to sidestep confusion.

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When I started out teaching Creative Writing, I had a few things I promised myself I'd never say to students.

For example, Show, Don't Tell.

The main one was likening writing to painting, and telling my students that they needed to do the equivalent of learning to draw.

I've turned round completely on that. You need to learn to draw, and for writers that means learning to understand and do different Points of View.

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Point of View is deeply linked to Time - not just blank time passing, but time that's full of events in a character's life.

Today's podcast demonstrates that with a memory exercise concerting dialogue.

We're all happy to read long scenes recalled years later by First Person Narrators, but how good would you be at remembering all those he said, she saids?

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Why should you be bothered thinking about Point of View in writing? Why not just launch into breathless your close First Person Present Tense narrative?

Well, in my experience because Point of View's going to become a major issue, and anxiety, and blockage in about two week's time - if it isn't already.

A Complete Guide to Point of View will help you map out the territory ahead, and make some choices about what equipment you're going to need, and whether this is really the right mountain to climb.

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Today's podcast is a pitch for On Drafting.

I've been working at how to get the idea across to editors. This is my first go, and I'm looking for feedback.

Maybe the tone's completely wrong, or maybe there's something can be rescued.

It's better than asking ChatGPT, though.

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Are you lucky enough to have somewhere in your flat or house that's dedicated to writing? Even if there's an ironing board or an exercise bike in there, too?

What's necessary for you - or any writer - about having this privileged space? Well, a writer can't live with thieves or spies...

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Do you like to write in cafes? Is that because you want people to see you, hard at it, or because you need people around you who might just be working on their novels or memoirs?

Here are a few thoughts about street photography, addicted note-taking and what to say if someone catches you taking down their juicy dialogue.

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There are writers who famously preferred to be horizontal, sheet-surrounded and cosied up with cats, in order to write.

They weren't necessarily bed-bound, but they found this truancy from desks, day clothes, and anything clerk-like to suit them best.

Proust, Colette, Mark Twain. And, going out to ask about my reader's writing habits, I've discovered that they are comfortable between covers of both sorts.

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Wordprocessing can be great, useful and liberating. But it has many pitfalls. Not least of these is watching that wordcount slowly rise, and thinking you're a bad person if it doesn't get to a round number.

Some advice on right attitude to working on the screen, in the world of pain that is or isn't MS Word.

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