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'Last night I watched the film of my novel; no eyes on me, no need to alter my expression for fear of upsetting the director. I wore pyjamas and heard the words I’d typed – years ago, not feeling like a ‘proper’ writer – on my TV. A dream achieved. '
'I remember the thrill of excitement that went through me. Here was my favourite TV programme in book form! It was like a dream come true. I wanted both books, but opted for the non-Dalek one because it had a multi-tentacled creature on the cover. '
Simon Booker on the unexpected consequences of his lockdown project — searching for the truth about the father he never knew.

Polly Morland speaks with Caroline Sanderson about how the skills acquired during a 15-year documentary film-making career fed into her vocational non-fiction writing, allowing her to blend ideas from self-help, psychology and philosophy with reportage of ordinary, yet extraordinary human stories.

'In documentaries, the limits of your storytelling are largely set by where you point the camera. I had a tough boss who told me, bluntly, ‘If you haven’t shot it, Polly, you haven’t got it.’ I learned how to parcel up what I saw and heard into units of story.'
Roy Bainton asks whether writers improve as they age and explores the long career of a personal literary icon, Ray Bradbury.

Lucy Flannery confesses to an out-of-control obsession with stationery, explaining that every notebook and index card has a role in her creative process and reminding us that nothing is ever really thrown away when you’re a writer.

Alexandra Benedict considers the many different modes of sensory perception (including her own intriguing experience of synaesthesia), and explores how the senses can make their way into writing.

'In my rewrite of It’s a Wonderful Life, George would be Georgia. On a cold Christmas Eve, she sits alone. Born at a time that allowed her dreams, but no chance to pursue them. The wife who made her husband’s life easier and the mother who made cakes.'
'You know an idea has legs when it simply won’t go away. Sometimes it seems too good to be true. Surely this has been done before? The answer, invariably, is: ‘Well, yes, it has been done,’ (after all, what hasn’t?) ‘just not in this particular way...'
'Ghost-writing books and columns for celebrities; booking guests onto TV chat shows. There’s nothing wrong with those gigs – and the bills must be paid – but they won’t help you develop the skills to become a first-class screenwriter or novelist.'
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.
'To write at all, but especially for the screen, is to court rejection. The huge sums of money needed to propel any project out of development hell and into production, mean the ratio of scripts commissioned, to scripts produced, is mortifyingly small.'
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