Andrew Cranston

Or there's a great story where a guy starts floating up to the ceiling.

He actually has to carry books to get himself back down to the ground.

But, you know, I like that idea where you set up a situation where, you know, 99% of things are just behaving normally, but one thing's out of sync or unnerving.

Yeah, I mean, I mentioned the Hunterian, but I'm rubbish in the mornings at any kind of attempt at painting.

I go to the same cafe every day and I have the same thing, really.

Scrambled eggs on toast.

And they know me very well.

And I maybe read a wee bit and I write.

That is when I do my writing.

I have a morning of pottering around, really.

I often play golf.

Yeah, I was going to, we can come to the golf in a second.

it feels to me like even though you say you can't like go into studio and paint at that time that's absolutely working right that's that's formulating the pictures it's making them in various ways you know yes it's taken a while to almost understand what parts of the day suit certain activities or you know in a way how your brain and body kind of work best together you know and

You know, in a way, the sort of horror of school was like, it's nine o'clock in the morning, bell rings and, you know, right, get your books out.

You've got to be concentrated in this kind of way.

And funnily enough, really words are there in the morning for me.

Somehow I can just, you know, assemble them and, you know, they come to me.

And later on in the day,

I can hardly string a sentence together you know it's kind of so yeah there's that and the writing really came out of being in academia and loathing academic language research language and stuff like that

the ways in which you were obliged to write about your work or speak about your work.