I have a great drive to make things and sometimes I forget to slow down a little.

I'm really interested in the minutiae of different tones and what that explains - how people's backgrounds are reflected in minute details of how they interact. It's true that I'm hypersensitive to all that. Writing is acting in the sense that you're imagining and inhabiting another. In the book I was trying to get at the root of what true acting is.

I had a lot of great lakes of ignorance that I was up against, I would write what I knew in almost like islands that were rising up out of the oceans. Then I would take time off and read, sometimes for months, then I would write more of what I knew, and saw what I could see, as much as the story as I could see. And then at a certain point I had to write out what I thought was the plot because it was so hard to keep it all together in my head. And then I started to write in a more linear way.

The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.

As much as there are intellectual choices to be made and all the rest of it, a great actor has the ability really, to disappear and lose themself in a kind of mystical fashion. My appreciation and fascination with true acting is really all over the book, definitely.

Writing is a particular kind of frustration, which is why when I was making the structure for the novel I visualized it for myself with a color-coded board so I could see it.

I was 100 percent sure when I left university that I was going to be a painter.