I didn't take into account the critical tsunami that comes with having work going out. I've gone from being a complete narcissist, someone who googles my own name, to someone who has to work separately from that to avoid creative paralysis.
I get the 'Guardian' delivered every day and read it very quickly. I like it for both the TV and theatre reviews and because it's very accessible. At the weekend, I get the 'Observer' because I love the food supplement, Observer Food Monthly, and the style section. And I can't resist the News of the World.
There are so many actresses I want to write for. I see them, and I think, 'Why is she not playing that lead? What's happened to that actress?' I think all I can do is to write parts for women, to say, 'Keep going, keep acting, because there are parts for you. There will be those plays.'
The notion of having your muse was not something that was built for women originally. That's not to say women don't have muses. I get muses in terms of actors or writers who inspire me, so I understand the concept.
Plays are the marathon of scriptwriting. You fix on a point somewhere in the middle distance, and you start running, and you don't stop until you get to the end. The theory is that you have something you cannot not say: this is the engine that propels you through to the last page.
I try to stay focused on the work and recognize that I've been very lucky. Maybe it's 'cause I grew up with actors, but I've seen that recognition comes and goes, so all there really is is your family and friends. You have to maintain those constants in your life. Maintain what's beyond your work.
I write an actual script rather quickly - a draft will take me two weeks - but I write a lot of drafts. My big thing is I don't re-read. When I write, I never re-read back. I'll send it, because if I re-read back, it will cripple me.
I need to be in charge, and that comes from when I was growing up and money was always an issue. I didn't want to feel the fear of poverty again, and I suppose, in that way, I qualify as Thatcher Youth.
I think casting is everything. You get a great cast and - certainly, as happens in 'The Hour' - so many of those performances on the page were transformed by those actors who took those parts and made it into something completely different.