Fifty years after taking part in his first poetry reading as a schoolboy, Brian McCabe reflects on what reading his work aloud means to him, and how communicating directly with an audience in this way has helped to shape his writing.
When I'm writing a play I do sometimes imagine the audience reacting to a particular moment but not usually by vomiting, as happened once, or starting a fight.
I write because I can make a world in my head come alive on the stage or screen. I get to see the people who rattled around in my imagination eventually move out into a home of their own.
Dipo Agboluaje speaks with Gabriel Gbadamosi about Britain and Nigeria, the big dreams of his characters and his knack of combining satire with character development, and the necessity for diverse playwrights to aim for the mainstream.
I went back to my hotel room, leafed through the mound of tattered pages on the desk, and wished with all my heart that I could be working on something very, very simple.
Listening as a schoolboy to the great singer-songwriters of the 1970s helped to shape Donny O’Rourke’s sense of what might be achieved in poetry. Here he pays tribute to some of the musicians who influenced him.
I took a page of writing that I felt really good about and put it in a drawer; a week later I took a piece of writing that I felt was really uninspired, and put it in the same drawer. I left them there for three months.