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'I’ve felt that not doing an English literature degree has been the making of me. Knowing how lacking in confidence I was as a young woman, it seems such great good fortune that I was nourished by so many writers outside of those parameters.'
'After commuting for twelve years, I went freelance. I told GWR I had written three books on their train, and that I should be made their writer in residence. To my surprise they agreed, giving me a staff pass that allowed free travel on their network.'
'I score out phrases, draw connecting arrows between ideas, and play around with the position of words on the page. Using a mouse and keyboard would slow me down. I rewrite obsessively. Every few lines I'll start redrafting what I’ve written so far. '
'Wandering around a music festival, a fella pointed a camera at me. ‘You wrote that book, didn’t you?’ he said. ‘I did!’ I said, thrilled, ‘did you like it?’ ‘I’m not sure,’ he said and hid any fanboy excess behind a look that might be described as unnerving...'
'I remember thinking I should probably read something, just as in a bar you should probably drink something. I wanted to be a scientist when I grew up, but that day I needed something stronger. I was so desperate I found myself in the poetry section. '

CD Rose speaks with Ann Morgan about blurring the lines between fact and fiction, being persuaded to write a book and finding ways to commemorate geniuses whose work is never discovered.


Lesley Glaister speaks with Caroline Sanderson about the mystery of why some of her characters roar into life while others don’t; pays tribute to Hilary Mantel as a friend and mentor of her work; and argues that the heart of her fiction doesn’t only lie in darkness, but also in the triumph of the human spirit.

'I came to writing late in life, having never for a moment thought I would become a published novelist. It simply never occurred to me that I could or ever would become a writer. My working-class roots put it well beyond any horizon of mine.'
'As pilgrims we were captivated by the landscape as it changed around us, concerned with basic facts of where we would eat and sleep, and charged with the encounters and conversations that shaped each day. I had no desire for a fictional world.'
'There was no one in the once-a-monastery-now-a-restaurant but us — maybe the festival had booked the whole restaurant, which didn’t strike me as out of keeping with the general oddness of this globetrotting cohort of writers and translators.'
'Words are a re-ordering of dream, an attempt to drag down the superconscious into the good old conscious, where theatres are and publishing happens. But too much world-order and the dream-power is lost. I have to stop, dip back down into sleep.'
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