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A lot of my buddies enjoy the writing part or the studio part, and I love the live show part. That's the reason I got into all this, to play keg parties and bars. I still love playing live.
The kind of poetry I write, lyric poetry, I think is really concerned with intimacy, with mystery. That needn't be religious mystery, there are mysteries to do with everyday life.
I grew up with some kind of storytelling instinct, and when I write, my default setting is to find a story and then to tell it. It's the only way I know how to write.
Before the Olympics, there's always been a part of me that's wanted to write a book about Women's cycling because there isn't one out there and I think there's a lot to be said.
I got a bit obsessed with the whole English language and was writing journals and poetry. I've always been intrigued about psychology and philosophy and how people's minds work.
I think the first trick to writing a feminist work is to write plenty of women. That way you get to write characters, instead of worrying about paradigms.
Epithets, like pepper, Give zest to what you write; And if you strew them sparely, They whet the appetite: But if you lay them on too thick, You spoil the matter quite!
I'm a very compulsive person, so I spend most of my time drawing or writing my diary, patching things up and carving bits of wood - I've carved two of my guitars.
To try to write better than you do now is to risk rejection and failure. But not to risk those things in an insult to yourself, to other writers, and to your readers.
I do not believe writers should read reviews of their own books, and I do not. If one is not careful one is soon writing to please reviewers and not their audience or themselves.
Writers are not mere copyists of language; they are polishers, embellishers, perfecters. They spend hours getting the timing right so that what they write sounds completely unrehearsed.