‘When I’m reading novels for potential adaptations, or books for research, I can’t read anything for pleasure… everything I read is potentially work related. I’ve had the same novel by my bed for over a year.’
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‘Draft two is actually known to the world as draft one. It’s the draft that my agent or my producer will read.’
Rukhsana Ahmad speaks with John Siddique about her peripatetic childhood in Pakistan, how her concern for other people motivates her to keep writing across years and genres, and how she’s avoided the constraints of the ‘post-colonial’.
Searching for a quiet space in which to write, Rhiannon Tise tried a range of options – from a friend’s dining table to her local library – discovering, in the process, that the right conditions for creativity can be hard to find.