I can gabble on now, but I couldn't when I was a kid, so I spent a lot of time in my own head on the moors by myself. It felt like writing was the right way to express myself.
From Sarah Hall
For about two years, while researching 'The Wolf Border,' I was a complete wolf bore. I would regurgitate everything I was researching, whether people were interested or not.
I studied the short story as part of my creative writing course at university but then set off as a novelist. Generally, there is a sense that even if you want to write short stories, you need to do a novel first.
James Salter has talents on the page we novelists would sell souls to the devil for.
I'm a home-roamer and can't do study or office scenarios.
A lot of my literature deals with these people who are somehow magnetic because they have that ability to step over lines.
I was brought up in the north of England, which is probably no rougher than anywhere else, but I remember as a child being kind of mesmerized by girls fighting on the playground.
One of the things I try to do with my writing is try to evoke the spirit of the place. I think these things imprint on the landscape and the culture.
My writing is called exotic or avant-garde because I write about rural places. Has it really come to this, that if you write about the country you are avant-garde? How did this happen? Modern agriculture and spaces are still so relevant.
I felt impelled to write. It felt demonic, and I wanted to improve, the way some people habitually pick up a guitar and get better at playing it and making up songs.
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