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'Life is a constant rearrangement of priorities, and sometimes we need to remember that writing — though a compulsion we love, a lifelong illness we that can't quite shake — is just one of them. More than simply surviving, we should try to live well. '
'People will tell you to shrug it off, to develop a thick skin. I’m not sure this is entirely helpful. While it’s true that most writers get better at receiving negative feedback, to have too hard a skin can be synonymous with no longer caring about your work.'
'There’s something wrong. Your inner critical voice knows it, but you can’t put your finger on the problem. It can’t be that phrase or sentence that you love, can it? That part you have polished to perfection, that might even be the first words you wrote.'
'My desire to make science fiction feel grounded, and contemporary drama strange and surreal, is probably just another example of human contrariness. Ask me for a story about apples and there’s some part of me that wants to do a painting of pears.'
'The one thing agents and editors, producers and commissioners, say they are looking for is the original writing voice. And if the voice is to be original, surely the process behind it has to be just as unique? I don’t have one set way of doing things.'

Mary Colson defends the honour of much-derided Milton Keynes, and explains why, for her, it's an inspiring environment.

Martin Day introduces the landscape around Yeovil, and explores how childhood vistas underpin our mental landscapes and writing.

Penny Boxall introduces us to Shandy Hall, the intriguing home of Laurence Sterne on the North York Moors.

'They needed three additional scenes, featuring these two actors. Oh, and by the way, everyone's already on set, and they'll start shooting this new material in two hours: Go! It was the best, or certainly least stressful work I ever did for them.'
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