I do notice that I spend a lot of all my time steeped in different forms of myth, such as English folk music, for example, not really studying it necessarily, but just trying to experience it so I can recall it later.
I grew up in a household that was very left wing.
Writing for 'Rooster' was a strange experience. It's funny, once you tap into a voice, words just start to flow. You know when you've hit a spirit or captured something.
When you have kids, you can choose to make them like you, or become like them, and if you've got something that's going to change every six days or six minutes, you can decide to be as awake and alive and learning as they are.
My father got a trade union scholarship to Oxford; he lived and breathed politics; he was always watching current-affairs programmes. But I have a five-year-old child's attitude towards the news. Mainly, that it absolutely turns me off.
I don't think that writers have any responsibility to be good neighbors to the audience.
If you can write a character who is attractive but morally reprehensible, then you've got a character. It's got to feel like people I know and it doesn't just become a bag of tricks.