Jennifer Williams

I do think that is great, again, for any poet or writer is to have a, you know, whether it's a notebook or a file on your computer where you just, you store great ideas, great lines, bits you cut out of other poems.

Don't throw that stuff away because it can always be something you come back to and incorporate into new work.

I mean, do you ever feel that you will publish someday or that that will be something that eventually you'll kind of go, oh, well, at least I want a record of this to exist after I'm gone?

Or do you just think, no, that will go against everything I've ever, all the work I've done?

Or that it's not the right form for what you do?

But there is that, I mean, I think more so in poetry when it's spoken, performed, that bardic quality of it in a way can come out, really expose itself.

I mean, I think that should be in all poetry, that it should all work when, you know, arguably all poetry should be read out and heard and experienced in that way.

Do you have advice for people who maybe are...

haven't explored performing or reading out their poetry and their thinking about it.

I mean, for me, for instance, something I've always struggled with is that I don't feel like I'm good at memorising and it doesn't come very naturally to me.

And I know I can do it, but I have to work really hard.

And the thought of memorising a whole hour-long show is terrifying to me.

About the hour long.

I think probably when I first met you, you might have been at Kin.

Francis Bickmore used to run a night in Edinburgh years ago, what used to be the Kathleen Royal, which was a beautiful, beautiful open night and it was an open mic.

All sorts of people can come and perform and read there.

And I think when people, especially if you're starting out or trying something new, open mics are great, aren't they?

Just to kind of, it's, you know, they're probably in just about every city.

There will be one or two at least you could find.

There are loads in Edinburgh now.