I grew up in a place where everybody was a storyteller, but nobody wrote. It was that kind of Celtic, storytelling tradition: everybody would have a story at the pub or at parties, even at the clubs and raves.

When you look at the whole explosion of the Internet, the decline of print journalism, there are all of these plus-or-minus ramifications, and you have to work it out. The great thing about books is that you have a tactile thing that's there. You can download this or download that, but how long do you want to be staring at a screen for the rest of your life? You've got to have some kind of proper interface for people that's not about the screen.

When I go to places and do book tours, I don't really like doing traditional bookshops. It's nice to walk people through something instead of just standing up in a bookstore.

Are you asking me or telling me?

It's different in Scotland. People who come to readings are more interested in literature as such, but the readership in general is really quite diverse. It's a cliche, but it's said that people who read my books don't read any other books, and you do get that element.

When I'm not writing, I read loads of fiction, but I've been writing quite constantly lately so I've been reading a lot of nonfiction - philosophy, religion, science, history, social or cultural studies.

That's all very well as an abstract moral principle, Avril, a coffee-table theoretical construct, but there's no denying the sheer gratuitous pleasure to be derived from seeing members of the ruling class in pain and torment.