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You know, for all writers, you kind of

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have a compost heap. And if any of you

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are not gardeners, kitchen people, um

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the compost heap is where you throw all

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of the garden and the kitchen rubbish,

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the food scraps. You throw it all on the

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compost heap and then it rots down and a

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year or so later you look around and you

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just have this lovely brown stuff that

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you can put on the garden out of which

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flowers and vegetables will grow. And

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I think it's really important for a

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writer to have a compost heap.

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Everything you read, things that you

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write, the things that you listen to,

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people you encounter, they can all go on

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the composty and they will rot down and

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out of them grow beautiful stories. I

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think the thing that

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you don't understand especially as a

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young writer when people talk about your

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influences

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is the tendency is simply to go and look

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at

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the things like the thing that you do

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and point to them. So it's easier for me

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probably to point to Tolken and Dunin

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and James Branch Kabell to Ursula Leguin

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or or PL Travers and say well I do stuff

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like this and I can point to those

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people

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and what you don't necessarily point to

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is the stuff that does what you do but

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is in a different kind of field or a

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different kind of area entirely.

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My wife writes songs, she makes music,

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she performs.

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And what's important to her is emotional

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honesty, is truth. And she was probably

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in her late 30s before she realized that

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in all of the lists of influences that

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she would give when people would say,

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"What are your influences?" And she'd

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talk about The Cure or Leonard Cohen.

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She'd talk about punk bands. She'd talk

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about all of these things that she

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loved. She'd never talk about Judy Bloom

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because Judy Bloom was an author who she

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read when she was 10, 11, 12, 13, 14 and

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an author who changed her and went in

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really deep and talked about honesty and

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gave Amanda the things that she wanted.

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For me, I never talk about Lou Reed.

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Lou was huge for me. And one of the

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reasons he was huge for me is he would

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write these songs that were like three

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minute novels.

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There was a story in there even if you

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weren't quite sure what it was and it

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was compressed

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and it was very very heightened because

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anything that happens with music is

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always incredibly heightened

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and the choice of words in a song is so

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important because you don't have very

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many. So watching how Lou wouldn't tell

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you what to feel, wouldn't tell you how

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he felt,

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that the emotion would actually be

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almost pulled out

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of the song, but it will be there for

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you to interpret yourself was probably

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huge. It's something that I still love

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doing when I write is I would much

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rather not tell you how to feel about

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something. I would rather you just felt

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it. I will tell you what happens. And if

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I leave you crying because I just killed

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a unicorn.

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I'm not going to tell you how sad the

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death of the unicorn was.

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I'm going to kill that unicorn and I'm

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going to break your heart. That was

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something I think I learned from Lou. So

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your influences

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are not necessarily the things that you

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think they are. And your influences,

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you person watching this who I'm

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teaching, I'm instructing, you're

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listening to me, remember that. Remember

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that your influences are all sorts of

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things and some of them are going to

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take you by surprise. But the most

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important thing that you can do

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is open yourself to everything.

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One of the things that's really fun as a

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writer

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is subverting expectations. And one of

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the places as a young writer and frankly

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as an old writer, as a crusty, grumpy,

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aging writer, um that's great to do

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is to take apart a story that you're

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familiar with and inspect it new. See

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how it ticks. See what makes it work.

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Look at the things that

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um people take for granted

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a lot of the time.

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If you look at something that you're

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very very familiar with, but just look

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at it as if it's the first time, turn it

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round, examine it from odd angles,

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suddenly it can open up into a story.

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Snow White might have been the very

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first ever story that I remember

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reading. It was certainly one of the

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first books I ever had was a beautiful

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illustrated Snow White. So I

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I've known that story since I was 2 3

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years old. I must have read in that time

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perhaps a thousand different versions of

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Snow White. But reading it the

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thousandth time,

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I stopped and thought, you know,

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it's a pretty strange story.

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I mean,

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what kind of person

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has hair as black as coal, lips as red

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as blood, skin as white as snow, and

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gets to lie in a coffin

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for a year and then get up and they're

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fine again?

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And what kind of prince

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rides past

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on a horse and says, "Hey, that girl in

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that coffin, she's gorgeous. Can you

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bring her back to my castle?"

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Cuz that's kind of weird, too.

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And all of a sudden, I'm looking at

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something which is a story that I've

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looked at a thousand times

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as if I've never seen it before. And I'm

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going, well, this if you view it from

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over here, you're telling a story about

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a vampire princess

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and a necrophile prince.

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And actually, if you tell that story,

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then

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the heroine

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of the story has to be

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her stepmother, who obviously was doing

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everything she possibly could to save

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the kingdom and protect everybody from

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her terrible, terrible, dangerous

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daughter.

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That's a story.

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So,

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what I'd love for you to do

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is

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take a folk tale you're familiar with.

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Take a fairy tale, a story that's that's

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owned by the world.

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Take that story

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and then just turn it around. Try and

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look at it for the first time.

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See

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where the bits are that don't quite make

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sense. See where

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it could be

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completely reinvented and then write

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your own take on it. Try and make the

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people people.

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But tell that story

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and then see where you got to. Find out

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where it took you.

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Use it as a framework or use it as a

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mirror or use it as something to bounce

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ideas off and see what you get. And the

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things that you put into it could be

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things that you personally care about.

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You can take a story and tell it now in

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modern days. You can tell it in a never

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neverland time, but just try and make it

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yours. Try and make the people breathe

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and see what happens.

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I think something that's enormously fun

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for any young writer um is just thought

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experiments,

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makeup stories with the people around

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you. Um, I highly recommend train

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carriages, underground carriages, bus

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journeys, anything where you have a

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bunch of desperate people that you don't

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know.

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Then look at them. Throw all of you into

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a situation you've never been in before

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and start wondering, well, okay, what

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would this person do? What would that

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person do? You know, the train

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is transported to a distant planet.

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Somebody in here has a heart attack. Um,

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what happens if somebody gets sick? We

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get trapped and it goes on for days.

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And you just start making up little

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stories and you start playing with the

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people and realizing that actually

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people are so much more interesting and

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strange and more unlikely than anything

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that you could make up.

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So imagining that, go into a coffee

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shop, look at the people around you,

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listen to what they're saying, listen to

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how people talk.

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I used to have notebooks filled with

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either little overheard conversations or

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occasionally just conversations that I

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would have with people like bus drivers

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where I would go, I don't believe I just

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had that conversation. I should write it

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down while it's fresh.

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And you almost never use actual lines

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that you hear or I don't. Um, but

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they're still fantastic

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as as sort of things to throw on the

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compost heap.

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If you ask an author, where do you get

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your ideas? The author will probably

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mock you. Authors have jokes and they'll

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say, "Oh, from a little idea of the

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month club or from a little idea shop

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behind uh Charing Cross." Or they'll

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say, "Oh, I get them from my friend." Or

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they'll just just be horrible to you.

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Um, this is because authors are scared

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and we don't know.

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And because we don't know and because

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we're scared, we lash out and we make

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you feel like you asked a stupid

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question. You didn't. You asked the big

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question. You asked the real question.

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Where do you get your ideas is a real

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question. Um, and I used to do the funny

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answers. And then

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many years ago, I went to my daughter's

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school

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when she was um, you know, seven, eight

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years old. And I'm sitting there with

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some seven eight-year-olds and they're

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asking me about being a writer. And one

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of them says, "Where do you get your

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ideas?" And I thought, "I can't make fun

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of you. you're seven and you have

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actually asked the only big important

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question.

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So I thought I better give you a

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straight answer. Um and I thought for a

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little bit and I said well really I

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think you get ideas

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from confluence. Although I probably

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didn't use the word confluence because I

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was talking to seven-year-olds. I said

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you get ideas

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from two things coming together. You get

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ideas from things that you have seen and

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thought and known about and then

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something else that you've seen and

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thought and known about and the

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realization

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that you can just collide those things.

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And a lot of that

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right in the beginning can just be

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boredom.

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It can be looking out of a window.

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It can be I love um going to

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junior school and middle school kids

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drama. Um you cannot escape. You are

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stuck there. You can't take out your

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phone. You can't read. You have to

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watch. And yet the need to be elsewhere

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is such that you know you can absolutely

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go off and come up with some fantastic

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um ideas for things.

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Ideas. two things coming together. For

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example,

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uh everybody knows

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that if a werewolf bites you,

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you will become a werewolf when the moon

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is full.

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That's an idea.

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The whatifs, the I wonder weathers, the

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places where you go with that can be

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things like, well, okay, so what if a

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werewolf

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bites a wolf?

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Would you get a wolf that turns into a

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different wolf when the moon is full?

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What if a werewolf bit a goldfish?

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Would you get a goldfish that became

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hairy and came out of its bowl and

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killed people the full moon? What about

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a werewolf that absent-mindedly started

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chewing on a chair?

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Would you get a chair that turned into a

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wolf? Would this be a chairwolf? Um,

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when the moon is full? And at that

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point, you're suddenly starting to play

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around with that. You're going, "Okay,

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so now we get uh bodies

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found

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with their throats ripped out and in the

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mud nearby. You just have the marks of a

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chair leg.

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You'd have the moment where the great

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detective is sitting in the library

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as the full moon slowly rises and he's

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figuring this out. And just as he starts

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to figure it out, he realizes that the

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leather chair that he's sitting in is

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starting to get hairier and furrier and

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it's starting to move. And now you have

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something that

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you've really got a couple of scenes

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there. It's not yet a plot. It's just

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moments from a plot. But now you have

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something that you could build up from

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and you can build up to and you can go,

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okay, well, what would happen? What

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would have to happen before that in

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order to make a story? What happens

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after that? Can you shoot a chair with a

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silver bullet? Would that work? What

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does it do? Does it turn back into a

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chair? Um, how do you destroy a chair

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that is coming after you up the stairs?

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And

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you begin to just rethink. And really

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that's just confluence. That's things

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coming together that you have seen a

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thousand times, but you just look at

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them in a slightly different way. And

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now you have the beginning of a story.