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'My thoughts associate freely as I swim among the ducks, coots and moorhens with their chicks. The solution inevitably bubbles up from some recess of my brain. Home to breakfast and I'm at my desk by half past nine.'
'The creative part of my brain, the part that had written countless scripts, configured myriad plots, conjured hundreds of characters, had simply seized up. It felt like a gear stick stuck in neutral, and I was powerless to move it.'
'On the first of September I sat down at my desk and two female characters arrived. They were called Antonia and Jane. "Write about us!" they shouted. The screenplay finished itself ten days later... and was bought by Miramax in New York.'
'When I read my own drafts, I print them out so that I have pages to turn, and can tap into the thousand times I have opened the pages of a book I didn't write. I borrow that mindset of expectation. The more you read the better you write.'

Lois Pryce speaks with Ann Morgan about travelling the world by motorbike, the way writing changes a journey and the challenge and value of understanding each other.

'New York City was clearly where I ought to be, not stuck on a farm in rural Buckinghamshire! No, I should be strutting up Fifth Avenue, drinking cocktails in rooftop bars, and listening to jazz with the beautiful people at Elaine's.'

Bethan Roberts speaks with Catherine O’Flynn about her family tradition of oral storytelling, becoming a novelist after abandoning literary theory, and accidentally writing a novel about Elvis.

'It could be argued that this human drive for narrative has constituents similar to appetite and, say, sleep. I can't prove this scientifically, but imagining a world without literature is like imagining Cumbria without fells or lakes. '
'What if Sir hates it? What if he's disgusted by the bloodletting, the stakings and beheadings? Not only did you not hate the thing, you loved it. Remember, Jim, how you devoted the next two English lessons to reading my gory novella to the class?'

Maggie Butt (also published as Maggie Brookes) speaks with Ann Morgan about the transition from being a published poet to an internationally published novelist, the resilience writing requires and the challenge of choosing a pen name.

'Radio allowed me to develop a poetic and humorous ambiguity. In the screenplay, this proves difficult to maintain. My canvas expands, and the two men in Izzy's life lose their offstage status, and feature in actuality.'
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