You wonder, will this house and this time one day become your 1930s? Existing only in memory? It's impossible, incomprehensible to you; now it's happened.
I had to write drama. I was changed forever. The focus you get from knowing young exactly what you want to do in life and being determined to do it is a huge psychological advantage.
Now I didn't need him to read to me anymore, that our sitting down side by side, and his joy in reading to me, was ended; guilt then, infests my reading habits from their beginning.
Last year in a screenplay a woman I had expected to be a big supporting character through to the end was shot dead without warning twenty minutes in; no wonder Yeats was known for talking to himself.
Having always been isolated I created imaginative worlds of my own, and I do so still. Oh dear! It all goes back to childhood then?
After many years of scriptwriting, Kevin Clarke gave it up for history studies. The Tudor and Stuart courts, their murderous rivalries, lies, thefts and ruthless betrayals, were familiar territory to anyone who has carved a career path through the British television drama departments.
Kevin Clarke speaks with Frances Byrnes about playwriting as an essential dramatic apprenticeship, completing his education as an adult, and how his dramatic subjects choose him, rather than the other way around.