Narrative voice, whether first, second, or third person, can radically change the focus of a narrative, argues Dilys Rose, illustrating this with examples from her own work.
Listening as a schoolboy to the great singer-songwriters of the 1970s helped to shape Donny O’Rourke’s sense of what might be achieved in poetry. Here he pays tribute to some of the musicians who influenced him.
As a writer of historical fiction, John Pilkington has returned again and again to the diaries of Samuel Pepys, which he admires as much for their ‘warts-and-all’ honesty, as for the details they offer of seventeenth-century life.
As the only writer in a group of visual artists taking part in a project to restore a medieval tower as an arts centre, Deborah Gearing felt initially out of her depth. But then she found that collaborating with artists in other mediums had a liberating effect on her writing.
Listening to the music of Bob Marley as a young woman growing up in East London inspired Millie Murray to think that she might one day become a writer.
Her mother’s worsening dementia made Penny Hancock realise how important it is for people to feel at home — and why so many writers identify with a specific place.
Rhiannon Tise’s fascination with abandoned buildings and derelict man-made spaces dates back to her early teens, and has inspired much of her writing. She reflects on the reasons why.
Miranda Miller describes how a troubling encounter in childhood has remained with her, surfacing recently as she reflects on a new direction for her writing.