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As a young adult I discovered the Black American women writers, like Maya Angelou, Toni Morrison, Terry McMillan, Alice Walker and Ntozake Shange and I followed the road of self-discovery. It was as if they knew me personally and understood me completely.
I wrote my version of Rapunzel — Zel: Let Out Your Hair: a child whose afro hair grows up and out, not like the version I’d grown up on. In that, Rapunzel’s hair is long and straight and grows downwards and she is rescued by a prince — not a myth I would like to perpetuate.
Zora Neale Hurston left an indelible mark on me as a young journalist. I was first inspired by her book Tell My Horse recounting her audacious expedition in 1936 to Jamaica and Haiti where she documented life and folklore. I wanted to follow in her footsteps.
I used to read a book each week. Today I feel as if I write a book each week. I do daily journalling which I call my therapeutic poetic processing, helping me to make sense of our current confusing times. I read at least one book each month about equality and diversity.
I’ve continued to incorporate myths, modern myth-making, magic realism, as part of my writing. It manifests in my drama for theatre and screen, and both short and the long-form choreopoetry I write. It all stems from this formative period as a young child.

Juliet Gilkes Romero speaks with Ann Morgan about telling history’s forgotten stories, writing about intersectionality, chasing down inconvenient truths, and the experience of taking up a writing residency at one of the UK’s most revered theatres.

Jini Reddy on discovering travel writing and how fresh, diverse voices are pushing the boundaries of the genre.
RLF writers consider the role that audience plays in the writing process, exploring the possibilities and limitations that thinking about who will read, watch or listen to your work introduces to the tricky business of putting words on the page.
'Those who borrow my novels and stories from libraries; your activities do not go unnoticed. At 8.5 pence per loan, sometimes the annual sum from the public lending rights can be more than writers receive for their work in the first place.'
'It was particularly difficult for me to get published, as I was writing about the world around me. I'm British West Indian, and so much of what I was writing about had rarely been published or produced at that time in Britain.'
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