I write plays because writing dialogue is the only respectable way of contradicting yourself. I put a position, rebut it, refute the rebuttal, and rebut the refutation.

We shed as we pick up, like travellers who must carry everything in their arms, and what we let fall will be picked up by those behind. The procession is very long and life is very short. We die on the march. but there is nothing outside the march so nothing can be lost to it.

My life feels, week to week, incomplete to the level of being pointless if I am not in preparation for the next play or, ideally, into it.

When you stir your rice pudding, Septimus, the spoonful of jam spreads itself round making red trails like the picture of a meteor in my astronomical atlas. But if you stir backwards, the jam will not come together again. Indeed, the pudding does not notice and continues to turn pink just as before. Do you think this is odd?

Death followed by eternity the worst of both worlds. It is a terrible thought.

I really enjoy working on adaptations.

I never had any frustration about writing uncredited. I always felt that the satisfaction of doing it was in the doing of it, really, and getting recognised by the small number of people that know what you did.