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John Greening speaks with Caroline Sanderson about discovering that poetry was his calling, and discusses his wide-ranging career in verse, editing and literary criticism.

'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...'
Paul Munden describes the challenging process of writing about the musical genius of Nigel Kennedy, and how it inspired a hybrid form for his new biographic work.

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.

'Writing often has to come second place to the work that has more immediate returns. I learned very early on as a self-employed freelancer that the answer to ‘Can you do this paid work?’ is always ‘Yes’. That ethos has stood me in good stead.'
Ian Ayris charts his many and varied ‘lives’ – from school days to his career as a writer – and how each continues to feed and inform his work.
The great gift of myths are the many layers of meaning and understanding they bring, smuggled under the worn familiarity of the surface. They twist and recombine to present a multitude of ideas. Why should Faust lose his soul? Is not eternity after all reserved for the damned?

Syd Moore speaks with Doug Johnstone about her early writing life and the inclusive inspiration of seminal 80s and 90s culture, unexpectedly becoming a tv presenter on Channel 4, the self-doubt she experienced on not getting published, and the problematic Essex Girl stereotype.

'You're doing the right thing by reading everything you can. All the words you've consumed so far, and will do, have infused into the brain I have now. So, thank you! You've flavoured it like gin, with the best botanicals. And you'll like gin, later, as well.'
'Take two steps forward’, he said. ‘Now, what can you see?’ I described the shape of the music on the page, the way that lines went up or down. Another two steps forward. Then, I could discern groups of notes, the way they twisted and turned. '

Malachy Tallack speaks with Caroline Sanderson about how moving to Shetland as a child influenced his writing preoccupations, particularly his sense of place and the role of belonging , and how these things have come to imbue his varied fiction and non-fiction writing.

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