David Nicholls

If there's anything I'm keen to get better at in my writing, then it's the writing of prose as opposed to the writing of dialogue.

There's no shortage of orphans in 19th-century literature, but it's hard to find a single happy, communicative, functional parental relationship in the whole of 'Great Expectations,' even among the minor characters.

A screenplay is really an instruction manual, and it can be interpreted in any number of ways. The casting, the choice of location, the costumes and make-up, the actors' reading of a line or emphasis of a word, the choice of lens and the pace of the cutting - these are all part of the translation.

An adaptation leads the cinema-goer to the original to find out what they're missing and if they already know the book, it can still illuminate a theme, a character, an idea.

Read a book at the right age and it will stay with you for life.

I've been a compulsive reader for as long as I can remember.

I know that for every reader who has lost the habit or can't find the time, there are people who've never enjoyed reading and question the value of literature, either as entertainment or education, or believe that a love of books, and of fiction in particular, is sentimental or frivolous.

I still find it absurdly difficult to concentrate on a novel if there's a phone or computer to hand; I have taken to locking them outside the room like noisy pets.

I would never complain about 'One Day' taking off, but it made me painfully self-conscious for a long time.

This might sound really foolish, but when I came to Edinburgh in 1988 I had spent nearly all my life living south of Bristol, and I was just amazed that a city like Edinburgh was actually in the British isles.

Fear and anxiety are great motivators for me.

At university, I used to write silly little sketches and monologues, but never fiction.

I work three days at home, and two days in the British Library or the London Library, just to get out of the house and hide from the children.

I identified with Pip from 'Great Expectations,' especially when I was younger; I had the same kind of gaucheness and uncertainty.

I read a lot of F. Scott Fitzgerald. I love 'Tender is the Night,' and its atmosphere of doomed romance. He was one of the greatest prose stylists, with a wonderfully clear but lyrical quality.

I usually write on a computer - unless I get stuck, at which point I switch to write by hand. I think that's common among writers if they get cornered on something.

Well, I don't think Hollywood's a dirty word at all, I love a lot of Hollywood films.

I've only ever been recognised in the street once. In Sweden, strangely.

Most of the books and films I love walk a knife edge between romance and cynicism, and I wanted 'One Day' to stay on that line. I wanted it to be moving, but without being manipulative.

I worry sometimes that I'm a bit moralistic; always writing about men who are learning to grow up, not be so self-absorbed, selfish or badly behaved. I wonder if that's dull and liberal and wimpy? I should probably write something that celebrates wickedness.

I really was a terrible actor. I did it for years in my twenties because it was like being at university again.

Screenwriting is always about what people say or do, whereas good writing is about a thought process or an abstract image or an internal monologue, none of which works on screen.

When you're reading a book, you're always looking for the natural place to stop. With a movie, you can't really have that sense of it coming momentarily to a halt; there's pressure to keep the momentum up.

David Holdaway was my stage name. I was an actor for about eight years in the '90s. I had to change my name because there was another David Nicholls, and I thought if I changed it to my mother's name, she'd be touched.

I think I became a writer because I used to write letters to my friends, and I used to love writing them. I loved the idea that you can put marks on a page and send it off, and two days later, someone laughs somewhere else in the world.