English - Writer | 1974 -
For every prescriptive idea about the craft of fiction, there's at least one writer who makes a virtue of the contrary.
Sarah Hall
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Daniel Woodrell has made a name as a master of prose with personality - a densely descriptive, gamey form of storytelling, one might say traditional storytelling - of late rather an unfashionable mode.
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Art history became an A-level option at my school the year I started sixth form. This happened because another student and I cajoled and bullied the head of the art department into arranging it with the examination board.
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I was a terrible painter - my portraits looked like the evil chimera love-children of Picasso's demoiselles and the BBC test card clown.
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The beauty of interdisciplinary conversation is that the mode of expression is essentially different for each practitioner, even if ideas are shared.
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Set in a nameless colonial country, in an unspecified era, Katie Kitamura's second novel tracks the fortunes of a landowning family during the first waves of civil unrest.
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Fear is a relative thing; its effects are relative to power.
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I tend to research as I write so that the narrative can take priority, which is important for a piece of fiction, I think, finding out facts as and when I need to.
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It's very interesting to me that the nationalist movement in Scotland has become so positive and self-reflective rather than anti-English. The referendum in 2014 was peaceful, for all its deeply and passionately divided people.
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Apex predators are good for an environment in terms of biodiversity and trophic cascade - we have very few. But realistically, only a few areas could sustain free-roaming wolves in Britain, mostly in Scotland.
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You always hope you'll surprise somebody with the work. If you write something human and appealing, the perfect reader could be anyone.
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Various books revolutionised what I think about novels and showed me that they're not strict, formulaic things. 'Coming Through Slaughter' by Michael Ondaatje was one of them.
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