A German architect, Werner Aisslinger, thinks that he (1) ... the answer to our crowded cities. It is a portable micro-apartment. These apartments (2) ... ‘Loftcubes’. and they can be lifted onto any empty, flat roof by helicopter! Each Loftcube (3) ... with a kitchen and bathroom, as well as a large living area. They are extremely modern - they have been built using all the latest ideas, fabrics, and technology in interior design. The Loftcube (4) ... at an exhibition in Berlin several years ago. but Berlin wasn’t the right place for them, because it doesn’t have a housing shortage. These apartments are needed in busy, overcrowded cities, such as London and New York. They (5) ... very much. In the future, Aisslinger hopes that young professionals who often move from city to city (6) ... them. When it is time to move, they will just take their home w ith them! 'Since the Berlin exhibition we (7) ... to a number of companies interested in building them, but no decisions have been made yet,’ says Aisslinger.

A German architect, Werner Aisslinger, thinks that he (1) ... the answer to our crowded cities. It is a portable micro-apartment. These apartments (2) ... ‘Loftcubes’. and they can be lifted onto any empty, flat roof by helicopter! Each Loftcube (3) ... with a kitchen and bathroom, as well as a large living area. They are extremely modern - they have been built using all the latest ideas, fabrics, and technology in interior design. The Loftcube (4) ... at an exhibition in Berlin several years ago. but Berlin wasn’t the right place for them, because it doesn’t have a housing shortage. These apartments are needed in busy, overcrowded cities, such as London and New York. They (5) ... very much. In the future, Aisslinger hopes that young professionals who often move from city to city (6) ... them. When it is time to move, they will just take their home w ith them! 'Since the Berlin exhibition we (7) ... to a number of companies interested in building them, but no decisions have been made yet,’ says Aisslinger.

A German architect, Werner Aisslinger, thinks that he (1) ... the answer to our crowded cities. It is a portable micro-apartment. These apartments (2) ... ‘Loftcubes’. and they can be lifted onto any empty, flat roof by helicopter! Each Loftcube (3) ... with a kitchen and bathroom, as well as a large living area. They are extremely modern - they have been built using all the latest ideas, fabrics, and technology in interior design. The Loftcube (4) ... at an exhibition in Berlin several years ago. but Berlin wasn’t the right place for them, because it doesn’t have a housing shortage. These apartments are needed in busy, overcrowded cities, such as London and New York. They (5) ... very much. In the future, Aisslinger hopes that young professionals who often move from city to city (6) ... them. When it is time to move, they will just take their home w ith them! 'Since the Berlin exhibition we (7) ... to a number of companies interested in building them, but no decisions have been made yet,’ says Aisslinger.

A German architect, Werner Aisslinger, thinks that he (1) ... the answer to our crowded cities. It is a portable micro-apartment. These apartments (2) ... ‘Loftcubes’. and they can be lifted onto any empty, flat roof by helicopter! Each Loftcube (3) ... with a kitchen and bathroom, as well as a large living area. They are extremely modern - they have been built using all the latest ideas, fabrics, and technology in interior design. The Loftcube (4) ... at an exhibition in Berlin several years ago. but Berlin wasn’t the right place for them, because it doesn’t have a housing shortage. These apartments are needed in busy, overcrowded cities, such as London and New York. They (5) ... very much. In the future, Aisslinger hopes that young professionals who often move from city to city (6) ... them. When it is time to move, they will just take their home w ith them! 'Since the Berlin exhibition we (7) ... to a number of companies interested in building them, but no decisions have been made yet,’ says Aisslinger.

A German architect, Werner Aisslinger, thinks that he (1) ... the answer to our crowded cities. It is a portable micro-apartment. These apartments (2) ... ‘Loftcubes’. and they can be lifted onto any empty, flat roof by helicopter! Each Loftcube (3) ... with a kitchen and bathroom, as well as a large living area. They are extremely modern - they have been built using all the latest ideas, fabrics, and technology in interior design. The Loftcube (4) ... at an exhibition in Berlin several years ago. but Berlin wasn’t the right place for them, because it doesn’t have a housing shortage. These apartments are needed in busy, overcrowded cities, such as London and New York. They (5) ... very much. In the future, Aisslinger hopes that young professionals who often move from city to city (6) ... them. When it is time to move, they will just take their home w ith them! 'Since the Berlin exhibition we (7) ... to a number of companies interested in building them, but no decisions have been made yet,’ says Aisslinger.

A German architect, Werner Aisslinger, thinks that he (1) ... the answer to our crowded cities. It is a portable micro-apartment. These apartments (2) ... ‘Loftcubes’. and they can be lifted onto any empty, flat roof by helicopter! Each Loftcube (3) ... with a kitchen and bathroom, as well as a large living area. They are extremely modern - they have been built using all the latest ideas, fabrics, and technology in interior design. The Loftcube (4) ... at an exhibition in Berlin several years ago. but Berlin wasn’t the right place for them, because it doesn’t have a housing shortage. These apartments are needed in busy, overcrowded cities, such as London and New York. They (5) ... very much. In the future, Aisslinger hopes that young professionals who often move from city to city (6) ... them. When it is time to move, they will just take their home w ith them! 'Since the Berlin exhibition we (7) ... to a number of companies interested in building them, but no decisions have been made yet,’ says Aisslinger.

A German architect, Werner Aisslinger, thinks that he (1) ... the answer to our crowded cities. It is a portable micro-apartment. These apartments (2) ... ‘Loftcubes’. and they can be lifted onto any empty, flat roof by helicopter! Each Loftcube (3) ... with a kitchen and bathroom, as well as a large living area. They are extremely modern - they have been built using all the latest ideas, fabrics, and technology in interior design. The Loftcube (4) ... at an exhibition in Berlin several years ago. but Berlin wasn’t the right place for them, because it doesn’t have a housing shortage. These apartments are needed in busy, overcrowded cities, such as London and New York. They (5) ... very much. In the future, Aisslinger hopes that young professionals who often move from city to city (6) ... them. When it is time to move, they will just take their home w ith them! 'Since the Berlin exhibition we (7) ... to a number of companies interested in building them, but no decisions have been made yet,’ says Aisslinger.

The Scout Movement has a rich and exciting history which has led (1) ... it becoming the leading global youth movement of today. There are more than 40 million Scouts in over 200 countries and territories today. Scouting as (2) ... movement began with 20 boys and an experimental camp in 1907. It was held on Brownsea Island, near Poole in Dorset, England. (3) ... camp was (4) ... great success and proved (5) ... its organiser, Robert Baden- Powell, that his training and methods appealed (6) ... young people and really worked. In 1908, he published the first Scouting for Boys, a book issued in fortnightly (вы­хо­дя­щий каж­дые две не­де­ли) parts at four pence each. The book was immediately sold out. Baden-Powell’s only intention was to provide existing youth organisations (7) ... a new method of training boys. (8) ... his surprise, youngsters started to organise themselves into what was destined to become the world’s largest voluntary youth movement.

The Scout Movement has a rich and exciting history which has led (1) ... it becoming the leading global youth movement of today. There are more than 40 million Scouts in over 200 countries and territories today. Scouting as (2) ... movement began with 20 boys and an experimental camp in 1907. It was held on Brownsea Island, near Poole in Dorset, England. (3) ... camp was (4) ... great success and proved (5) ... its organiser, Robert Baden- Powell, that his training and methods appealed (6) ... young people and really worked. In 1908, he published the first Scouting for Boys, a book issued in fortnightly (вы­хо­дя­щий каж­дые две не­де­ли) parts at four pence each. The book was immediately sold out. Baden-Powell’s only intention was to provide existing youth organisations (7) ... a new method of training boys. (8) ... his surprise, youngsters started to organise themselves into what was destined to become the world’s largest voluntary youth movement.

The Scout Movement has a rich and exciting history which has led (1) ... it becoming the leading global youth movement of today. There are more than 40 million Scouts in over 200 countries and territories today. Scouting as (2) ... movement began with 20 boys and an experimental camp in 1907. It was held on Brownsea Island, near Poole in Dorset, England. (3) ... camp was (4) ... great success and proved (5) ... its organiser, Robert Baden- Powell, that his training and methods appealed (6) ... young people and really worked. In 1908, he published the first Scouting for Boys, a book issued in fortnightly (вы­хо­дя­щий каж­дые две не­де­ли) parts at four pence each. The book was immediately sold out. Baden-Powell’s only intention was to provide existing youth organisations (7) ... a new method of training boys. (8) ... his surprise, youngsters started to organise themselves into what was destined to become the world’s largest voluntary youth movement.

The Scout Movement has a rich and exciting history which has led (1) ... it becoming the leading global youth movement of today. There are more than 40 million Scouts in over 200 countries and territories today. Scouting as (2) ... movement began with 20 boys and an experimental camp in 1907. It was held on Brownsea Island, near Poole in Dorset, England. (3) ... camp was (4) ... great success and proved (5) ... its organiser, Robert Baden- Powell, that his training and methods appealed (6) ... young people and really worked. In 1908, he published the first Scouting for Boys, a book issued in fortnightly (вы­хо­дя­щий каж­дые две не­де­ли) parts at four pence each. The book was immediately sold out. Baden-Powell’s only intention was to provide existing youth organisations (7) ... a new method of training boys. (8) ... his surprise, youngsters started to organise themselves into what was destined to become the world’s largest voluntary youth movement.

The Scout Movement has a rich and exciting history which has led (1) ... it becoming the leading global youth movement of today. There are more than 40 million Scouts in over 200 countries and territories today. Scouting as (2) ... movement began with 20 boys and an experimental camp in 1907. It was held on Brownsea Island, near Poole in Dorset, England. (3) ... camp was (4) ... great success and proved (5) ... its organiser, Robert Baden- Powell, that his training and methods appealed (6) ... young people and really worked. In 1908, he published the first Scouting for Boys, a book issued in fortnightly (вы­хо­дя­щий каж­дые две не­де­ли) parts at four pence each. The book was immediately sold out. Baden-Powell’s only intention was to provide existing youth organisations (7) ... a new method of training boys. (8) ... his surprise, youngsters started to organise themselves into what was destined to become the world’s largest voluntary youth movement.

The Scout Movement has a rich and exciting history which has led (1) ... it becoming the leading global youth movement of today. There are more than 40 million Scouts in over 200 countries and territories today. Scouting as (2) ... movement began with 20 boys and an experimental camp in 1907. It was held on Brownsea Island, near Poole in Dorset, England. (3) ... camp was (4) ... great success and proved (5) ... its organiser, Robert Baden- Powell, that his training and methods appealed (6) ... young people and really worked. In 1908, he published the first Scouting for Boys, a book issued in fortnightly (вы­хо­дя­щий каж­дые две не­де­ли) parts at four pence each. The book was immediately sold out. Baden-Powell’s only intention was to provide existing youth organisations (7) ... a new method of training boys. (8) ... his surprise, youngsters started to organise themselves into what was destined to become the world’s largest voluntary youth movement.

The Scout Movement has a rich and exciting history which has led (1) ... it becoming the leading global youth movement of today. There are more than 40 million Scouts in over 200 countries and territories today. Scouting as (2) ... movement began with 20 boys and an experimental camp in 1907. It was held on Brownsea Island, near Poole in Dorset, England. (3) ... camp was (4) ... great success and proved (5) ... its organiser, Robert Baden- Powell, that his training and methods appealed (6) ... young people and really worked. In 1908, he published the first Scouting for Boys, a book issued in fortnightly (вы­хо­дя­щий каж­дые две не­де­ли) parts at four pence each. The book was immediately sold out. Baden-Powell’s only intention was to provide existing youth organisations (7) ... a new method of training boys. (8) ... his surprise, youngsters started to organise themselves into what was destined to become the world’s largest voluntary youth movement.

The Scout Movement has a rich and exciting history which has led (1) ... it becoming the leading global youth movement of today. There are more than 40 million Scouts in over 200 countries and territories today. Scouting as (2) ... movement began with 20 boys and an experimental camp in 1907. It was held on Brownsea Island, near Poole in Dorset, England. (3) ... camp was (4) ... great success and proved (5) ... its organiser, Robert Baden- Powell, that his training and methods appealed (6) ... young people and really worked. In 1908, he published the first Scouting for Boys, a book issued in fortnightly (вы­хо­дя­щий каж­дые две не­де­ли) parts at four pence each. The book was immediately sold out. Baden-Powell’s only intention was to provide existing youth organisations (7) ... a new method of training boys. (8) ... his surprise, youngsters started to organise themselves into what was destined to become the world’s largest voluntary youth movement.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

A large-scale (1) ... has been done by advertisers on the spending habits of today’s teenagers. It has come up with some fascinating results. Girls across Europe ranging in age from 15 to 18 were interviewed. The researchers (2) ... that these girls want to be successful and sophisticated and are willing to spend vast (3) ... of money to (4) ... the look they want  — when they have the money, that is! Feeling confident is the most important factor when it (5) ... to buying clothes. Another interesting piece of information (6) ... from the study is that German teenagers go for clothes that are practical and comfortable, while British and French teenagers are more (7) ... about appearance, although they all agreed that the clothes should (8) ... them properly. All the girls who were interviewed (9) ... for clothes regularly, half of them buying something from a department store or a large clothes shop at least once a month. They also see it as a social activity and (10)... round the shops with their friends is the main way they learn what the latest trends are.

§ 1. G. Р. Taylor is the Yorkshire vicar {при­ходcкой свя­щен­ник) who sold his motorbike to self-publish 2,000 copies of his first novel, Shadowmancer, a book that was subsequently picked up by publishers Faber & Faber and got to number one in the New York Times bestseller list. His novels bring to one’s mind dark, chilling worlds in which the supernatural threatens to take over, yet he describes his life as a writer in purely functional terms. He is able to name the exact day that he became a novelist: March 21,2002. ‘It was one of those fruitful moments in my life. Harry Potter was becoming very popular. And I thought, “This woman’s written a book. I might write one.” ’

§ 2. ‘ I got a copy of Harry Potter, counted the number of words that were on the page, measured the width of the margin {поля), counted the number of chapters in the book, how many pages were in the book and set my computer screen up so that it would have 468 words on the page. My chapters were the same length as the Harry Potter chapters; I thought, “This must be how you write a book.” ’ Shadowmancer is a simple and uncomplicated fantasy  — and Taylor, who is his own most effective critic, makes few further claims for the novel. ‘It’s a great story, but if I’d written it now, it would be a completely different book. In many ways, it’s a clumsy classic. There are a lot of things in there that I would get rid of. And yet, I think that’s the big attraction. It’s because it’s an incredible adventure story, written by a non-writer, just a storyteller.'

§ 3. Taylor returns to this distinction between writing and storytelling a number of times, distancing himself from grand and lofty ideas of the novelist’s purpose. He describes himself as a ‘fairly uneducated kid’ who ran away to London as a teenager. He is uncomfortable talking at any length about favourite novels or influences beyond J. K. Rowling: T have not read all that many books. I’m not a very literate person.’

§ 4. Taylor was a rock-music promoter in his twenties and remains a showman, happiest in front of a crowd. He describes the talks he gives in schools and at festivals, dressed up as a sea captain or as an 18th-century highwayman in a long black coat. ‘You’re using your face, you’re using your body, you’re acting out what you’re doing.’ The business of putting his thoughts in writing can be problematic in comparison. As a storyteller, in order to demonstrate shock or alarm to an audience he will ‘pause between sentences and show a wide-eyed, staring face. But to describe that in English...’

§ 1. G. Р. Taylor is the Yorkshire vicar {при­ходcкой свя­щен­ник) who sold his motorbike to self-publish 2,000 copies of his first novel, Shadowmancer, a book that was subsequently picked up by publishers Faber & Faber and got to number one in the New York Times bestseller list. His novels bring to one’s mind dark, chilling worlds in which the supernatural threatens to take over, yet he describes his life as a writer in purely functional terms. He is able to name the exact day that he became a novelist: March 21,2002. ‘It was one of those fruitful moments in my life. Harry Potter was becoming very popular. And I thought, “This woman’s written a book. I might write one.” ’

§ 2. ‘ I got a copy of Harry Potter, counted the number of words that were on the page, measured the width of the margin {поля), counted the number of chapters in the book, how many pages were in the book and set my computer screen up so that it would have 468 words on the page. My chapters were the same length as the Harry Potter chapters; I thought, “This must be how you write a book.” ’ Shadowmancer is a simple and uncomplicated fantasy  — and Taylor, who is his own most effective critic, makes few further claims for the novel. ‘It’s a great story, but if I’d written it now, it would be a completely different book. In many ways, it’s a clumsy classic. There are a lot of things in there that I would get rid of. And yet, I think that’s the big attraction. It’s because it’s an incredible adventure story, written by a non-writer, just a storyteller.'

§ 3. Taylor returns to this distinction between writing and storytelling a number of times, distancing himself from grand and lofty ideas of the novelist’s purpose. He describes himself as a ‘fairly uneducated kid’ who ran away to London as a teenager. He is uncomfortable talking at any length about favourite novels or influences beyond J. K. Rowling: T have not read all that many books. I’m not a very literate person.’

§ 4. Taylor was a rock-music promoter in his twenties and remains a showman, happiest in front of a crowd. He describes the talks he gives in schools and at festivals, dressed up as a sea captain or as an 18th-century highwayman in a long black coat. ‘You’re using your face, you’re using your body, you’re acting out what you’re doing.’ The business of putting his thoughts in writing can be problematic in comparison. As a storyteller, in order to demonstrate shock or alarm to an audience he will ‘pause between sentences and show a wide-eyed, staring face. But to describe that in English...’

§ 1. G. Р. Taylor is the Yorkshire vicar {при­ходcкой свя­щен­ник) who sold his motorbike to self-publish 2,000 copies of his first novel, Shadowmancer, a book that was subsequently picked up by publishers Faber & Faber and got to number one in the New York Times bestseller list. His novels bring to one’s mind dark, chilling worlds in which the supernatural threatens to take over, yet he describes his life as a writer in purely functional terms. He is able to name the exact day that he became a novelist: March 21,2002. ‘It was one of those fruitful moments in my life. Harry Potter was becoming very popular. And I thought, “This woman’s written a book. I might write one.” ’

§ 2. ‘ I got a copy of Harry Potter, counted the number of words that were on the page, measured the width of the margin {поля), counted the number of chapters in the book, how many pages were in the book and set my computer screen up so that it would have 468 words on the page. My chapters were the same length as the Harry Potter chapters; I thought, “This must be how you write a book.” ’ Shadowmancer is a simple and uncomplicated fantasy  — and Taylor, who is his own most effective critic, makes few further claims for the novel. ‘It’s a great story, but if I’d written it now, it would be a completely different book. In many ways, it’s a clumsy classic. There are a lot of things in there that I would get rid of. And yet, I think that’s the big attraction. It’s because it’s an incredible adventure story, written by a non-writer, just a storyteller.'

§ 3. Taylor returns to this distinction between writing and storytelling a number of times, distancing himself from grand and lofty ideas of the novelist’s purpose. He describes himself as a ‘fairly uneducated kid’ who ran away to London as a teenager. He is uncomfortable talking at any length about favourite novels or influences beyond J. K. Rowling: T have not read all that many books. I’m not a very literate person.’

§ 4. Taylor was a rock-music promoter in his twenties and remains a showman, happiest in front of a crowd. He describes the talks he gives in schools and at festivals, dressed up as a sea captain or as an 18th-century highwayman in a long black coat. ‘You’re using your face, you’re using your body, you’re acting out what you’re doing.’ The business of putting his thoughts in writing can be problematic in comparison. As a storyteller, in order to demonstrate shock or alarm to an audience he will ‘pause between sentences and show a wide-eyed, staring face. But to describe that in English...’

§ 1. G. Р. Taylor is the Yorkshire vicar {при­ходcкой свя­щен­ник) who sold his motorbike to self-publish 2,000 copies of his first novel, Shadowmancer, a book that was subsequently picked up by publishers Faber & Faber and got to number one in the New York Times bestseller list. His novels bring to one’s mind dark, chilling worlds in which the supernatural threatens to take over, yet he describes his life as a writer in purely functional terms. He is able to name the exact day that he became a novelist: March 21,2002. ‘It was one of those fruitful moments in my life. Harry Potter was becoming very popular. And I thought, “This woman’s written a book. I might write one.” ’

§ 2. ‘ I got a copy of Harry Potter, counted the number of words that were on the page, measured the width of the margin {поля), counted the number of chapters in the book, how many pages were in the book and set my computer screen up so that it would have 468 words on the page. My chapters were the same length as the Harry Potter chapters; I thought, “This must be how you write a book.” ’ Shadowmancer is a simple and uncomplicated fantasy  — and Taylor, who is his own most effective critic, makes few further claims for the novel. ‘It’s a great story, but if I’d written it now, it would be a completely different book. In many ways, it’s a clumsy classic. There are a lot of things in there that I would get rid of. And yet, I think that’s the big attraction. It’s because it’s an incredible adventure story, written by a non-writer, just a storyteller.'

§ 3. Taylor returns to this distinction between writing and storytelling a number of times, distancing himself from grand and lofty ideas of the novelist’s purpose. He describes himself as a ‘fairly uneducated kid’ who ran away to London as a teenager. He is uncomfortable talking at any length about favourite novels or influences beyond J. K. Rowling: T have not read all that many books. I’m not a very literate person.’

§ 4. Taylor was a rock-music promoter in his twenties and remains a showman, happiest in front of a crowd. He describes the talks he gives in schools and at festivals, dressed up as a sea captain or as an 18th-century highwayman in a long black coat. ‘You’re using your face, you’re using your body, you’re acting out what you’re doing.’ The business of putting his thoughts in writing can be problematic in comparison. As a storyteller, in order to demonstrate shock or alarm to an audience he will ‘pause between sentences and show a wide-eyed, staring face. But to describe that in English...’

§ 1. G. Р. Taylor is the Yorkshire vicar {при­ходcкой свя­щен­ник) who sold his motorbike to self-publish 2,000 copies of his first novel, Shadowmancer, a book that was subsequently picked up by publishers Faber & Faber and got to number one in the New York Times bestseller list. His novels bring to one’s mind dark, chilling worlds in which the supernatural threatens to take over, yet he describes his life as a writer in purely functional terms. He is able to name the exact day that he became a novelist: March 21,2002. ‘It was one of those fruitful moments in my life. Harry Potter was becoming very popular. And I thought, “This woman’s written a book. I might write one.” ’

§ 2. ‘ I got a copy of Harry Potter, counted the number of words that were on the page, measured the width of the margin {поля), counted the number of chapters in the book, how many pages were in the book and set my computer screen up so that it would have 468 words on the page. My chapters were the same length as the Harry Potter chapters; I thought, “This must be how you write a book.” ’ Shadowmancer is a simple and uncomplicated fantasy  — and Taylor, who is his own most effective critic, makes few further claims for the novel. ‘It’s a great story, but if I’d written it now, it would be a completely different book. In many ways, it’s a clumsy classic. There are a lot of things in there that I would get rid of. And yet, I think that’s the big attraction. It’s because it’s an incredible adventure story, written by a non-writer, just a storyteller.'

§ 3. Taylor returns to this distinction between writing and storytelling a number of times, distancing himself from grand and lofty ideas of the novelist’s purpose. He describes himself as a ‘fairly uneducated kid’ who ran away to London as a teenager. He is uncomfortable talking at any length about favourite novels or influences beyond J. K. Rowling: T have not read all that many books. I’m not a very literate person.’

§ 4. Taylor was a rock-music promoter in his twenties and remains a showman, happiest in front of a crowd. He describes the talks he gives in schools and at festivals, dressed up as a sea captain or as an 18th-century highwayman in a long black coat. ‘You’re using your face, you’re using your body, you’re acting out what you’re doing.’ The business of putting his thoughts in writing can be problematic in comparison. As a storyteller, in order to demonstrate shock or alarm to an audience he will ‘pause between sentences and show a wide-eyed, staring face. But to describe that in English...’

§ 1. G. Р. Taylor is the Yorkshire vicar {при­ходcкой свя­щен­ник) who sold his motorbike to self-publish 2,000 copies of his first novel, Shadowmancer, a book that was subsequently picked up by publishers Faber & Faber and got to number one in the New York Times bestseller list. His novels bring to one’s mind dark, chilling worlds in which the supernatural threatens to take over, yet he describes his life as a writer in purely functional terms. He is able to name the exact day that he became a novelist: March 21,2002. ‘It was one of those fruitful moments in my life. Harry Potter was becoming very popular. And I thought, “This woman’s written a book. I might write one.” ’

§ 2. ‘ I got a copy of Harry Potter, counted the number of words that were on the page, measured the width of the margin {поля), counted the number of chapters in the book, how many pages were in the book and set my computer screen up so that it would have 468 words on the page. My chapters were the same length as the Harry Potter chapters; I thought, “This must be how you write a book.” ’ Shadowmancer is a simple and uncomplicated fantasy  — and Taylor, who is his own most effective critic, makes few further claims for the novel. ‘It’s a great story, but if I’d written it now, it would be a completely different book. In many ways, it’s a clumsy classic. There are a lot of things in there that I would get rid of. And yet, I think that’s the big attraction. It’s because it’s an incredible adventure story, written by a non-writer, just a storyteller.'

§ 3. Taylor returns to this distinction between writing and storytelling a number of times, distancing himself from grand and lofty ideas of the novelist’s purpose. He describes himself as a ‘fairly uneducated kid’ who ran away to London as a teenager. He is uncomfortable talking at any length about favourite novels or influences beyond J. K. Rowling: T have not read all that many books. I’m not a very literate person.’

§ 4. Taylor was a rock-music promoter in his twenties and remains a showman, happiest in front of a crowd. He describes the talks he gives in schools and at festivals, dressed up as a sea captain or as an 18th-century highwayman in a long black coat. ‘You’re using your face, you’re using your body, you’re acting out what you’re doing.’ The business of putting his thoughts in writing can be problematic in comparison. As a storyteller, in order to demonstrate shock or alarm to an audience he will ‘pause between sentences and show a wide-eyed, staring face. But to describe that in English...’

1.  Corinne Day: Photographer

I get my ideas for photographs anywhere, at any time; I don’t have to be specifically doing anything. I keep a diary at home and write down any t houghts I have, and then when a job comes up, I see if there is anything in it that applies. It’s almost impossible for me to switch off. When I was abroad recently, I wanted to get away from taking photographs, so I didn’t take my camera with me. But I could still see pictures all the time and wished I had brought it.

2.  Jan Kaplicky: Architect

Success in my job depends on the people you have around you and how good they are. There are engineers, model- makers, photographers  — architecture is not a one-man product. I come into the office every day. I like to arrive at 8 a.m., as this is a very peaceful period when I can think about things before the usual routine starts and other people arrive. The initial idea for a job comes to me just like that sometimes. Having lots of ideas for one problem is not a sign that you are creative; that’s just a waste of energy. But I do think a lot of creativity depends on your relationships with other people.

3.  J. B. Ballard: Novelist

I think the enemy of creativity in the world today is that so much thinking is done for you. The environment is so full of television, you hardly need to do anything. Children make you see what reality is all about. Mine were a huge inspiration for me. Watching them creating their separate worlds was a very enriching experience. As for learning to be creative, I think there are a lot of skills that you need to be born with. I wrote from a pretty early age, eight or nine, and I’ve always had a very vivid imagination.

4.  Peter Molyneux: Computer Game Creator

Perhaps the greatest difference between people who are creative and people who are not is that the former always think their idea will work. They never think, ‘That's not going to work, that’s a stupid idea’. But a lot of the time I don’t know where my ideas come from. I can remember incredibly clearly the time I saw my first computer game, in a shop window. From that moment on it was as if I’d found my aim in life. I find the computer game is very creative. It brings together many different disciplines: the logic of programming, mathematics, storytelling... The general idea for a game is easy, the real challenge always comes about six months later when you have to design all the parts of the game, and consider things like how many pieces of information players can take before they get confused.

1.  Corinne Day: Photographer

I get my ideas for photographs anywhere, at any time; I don’t have to be specifically doing anything. I keep a diary at home and write down any t houghts I have, and then when a job comes up, I see if there is anything in it that applies. It’s almost impossible for me to switch off. When I was abroad recently, I wanted to get away from taking photographs, so I didn’t take my camera with me. But I could still see pictures all the time and wished I had brought it.

2.  Jan Kaplicky: Architect

Success in my job depends on the people you have around you and how good they are. There are engineers, model- makers, photographers  — architecture is not a one-man product. I come into the office every day. I like to arrive at 8 a.m., as this is a very peaceful period when I can think about things before the usual routine starts and other people arrive. The initial idea for a job comes to me just like that sometimes. Having lots of ideas for one problem is not a sign that you are creative; that’s just a waste of energy. But I do think a lot of creativity depends on your relationships with other people.

3.  J. B. Ballard: Novelist

I think the enemy of creativity in the world today is that so much thinking is done for you. The environment is so full of television, you hardly need to do anything. Children make you see what reality is all about. Mine were a huge inspiration for me. Watching them creating their separate worlds was a very enriching experience. As for learning to be creative, I think there are a lot of skills that you need to be born with. I wrote from a pretty early age, eight or nine, and I’ve always had a very vivid imagination.

4.  Peter Molyneux: Computer Game Creator

Perhaps the greatest difference between people who are creative and people who are not is that the former always think their idea will work. They never think, ‘That's not going to work, that’s a stupid idea’. But a lot of the time I don’t know where my ideas come from. I can remember incredibly clearly the time I saw my first computer game, in a shop window. From that moment on it was as if I’d found my aim in life. I find the computer game is very creative. It brings together many different disciplines: the logic of programming, mathematics, storytelling... The general idea for a game is easy, the real challenge always comes about six months later when you have to design all the parts of the game, and consider things like how many pieces of information players can take before they get confused.

1.  Corinne Day: Photographer

I get my ideas for photographs anywhere, at any time; I don’t have to be specifically doing anything. I keep a diary at home and write down any t houghts I have, and then when a job comes up, I see if there is anything in it that applies. It’s almost impossible for me to switch off. When I was abroad recently, I wanted to get away from taking photographs, so I didn’t take my camera with me. But I could still see pictures all the time and wished I had brought it.

2.  Jan Kaplicky: Architect

Success in my job depends on the people you have around you and how good they are. There are engineers, model- makers, photographers  — architecture is not a one-man product. I come into the office every day. I like to arrive at 8 a.m., as this is a very peaceful period when I can think about things before the usual routine starts and other people arrive. The initial idea for a job comes to me just like that sometimes. Having lots of ideas for one problem is not a sign that you are creative; that’s just a waste of energy. But I do think a lot of creativity depends on your relationships with other people.

3.  J. B. Ballard: Novelist

I think the enemy of creativity in the world today is that so much thinking is done for you. The environment is so full of television, you hardly need to do anything. Children make you see what reality is all about. Mine were a huge inspiration for me. Watching them creating their separate worlds was a very enriching experience. As for learning to be creative, I think there are a lot of skills that you need to be born with. I wrote from a pretty early age, eight or nine, and I’ve always had a very vivid imagination.

4.  Peter Molyneux: Computer Game Creator

Perhaps the greatest difference between people who are creative and people who are not is that the former always think their idea will work. They never think, ‘That's not going to work, that’s a stupid idea’. But a lot of the time I don’t know where my ideas come from. I can remember incredibly clearly the time I saw my first computer game, in a shop window. From that moment on it was as if I’d found my aim in life. I find the computer game is very creative. It brings together many different disciplines: the logic of programming, mathematics, storytelling... The general idea for a game is easy, the real challenge always comes about six months later when you have to design all the parts of the game, and consider things like how many pieces of information players can take before they get confused.

1.  Corinne Day: Photographer

I get my ideas for photographs anywhere, at any time; I don’t have to be specifically doing anything. I keep a diary at home and write down any t houghts I have, and then when a job comes up, I see if there is anything in it that applies. It’s almost impossible for me to switch off. When I was abroad recently, I wanted to get away from taking photographs, so I didn’t take my camera with me. But I could still see pictures all the time and wished I had brought it.

2.  Jan Kaplicky: Architect

Success in my job depends on the people you have around you and how good they are. There are engineers, model- makers, photographers  — architecture is not a one-man product. I come into the office every day. I like to arrive at 8 a.m., as this is a very peaceful period when I can think about things before the usual routine starts and other people arrive. The initial idea for a job comes to me just like that sometimes. Having lots of ideas for one problem is not a sign that you are creative; that’s just a waste of energy. But I do think a lot of creativity depends on your relationships with other people.

3.  J. B. Ballard: Novelist

I think the enemy of creativity in the world today is that so much thinking is done for you. The environment is so full of television, you hardly need to do anything. Children make you see what reality is all about. Mine were a huge inspiration for me. Watching them creating their separate worlds was a very enriching experience. As for learning to be creative, I think there are a lot of skills that you need to be born with. I wrote from a pretty early age, eight or nine, and I’ve always had a very vivid imagination.

4.  Peter Molyneux: Computer Game Creator

Perhaps the greatest difference between people who are creative and people who are not is that the former always think their idea will work. They never think, ‘That's not going to work, that’s a stupid idea’. But a lot of the time I don’t know where my ideas come from. I can remember incredibly clearly the time I saw my first computer game, in a shop window. From that moment on it was as if I’d found my aim in life. I find the computer game is very creative. It brings together many different disciplines: the logic of programming, mathematics, storytelling... The general idea for a game is easy, the real challenge always comes about six months later when you have to design all the parts of the game, and consider things like how many pieces of information players can take before they get confused.

1.  Corinne Day: Photographer

I get my ideas for photographs anywhere, at any time; I don’t have to be specifically doing anything. I keep a diary at home and write down any t houghts I have, and then when a job comes up, I see if there is anything in it that applies. It’s almost impossible for me to switch off. When I was abroad recently, I wanted to get away from taking photographs, so I didn’t take my camera with me. But I could still see pictures all the time and wished I had brought it.

2.  Jan Kaplicky: Architect

Success in my job depends on the people you have around you and how good they are. There are engineers, model- makers, photographers  — architecture is not a one-man product. I come into the office every day. I like to arrive at 8 a.m., as this is a very peaceful period when I can think about things before the usual routine starts and other people arrive. The initial idea for a job comes to me just like that sometimes. Having lots of ideas for one problem is not a sign that you are creative; that’s just a waste of energy. But I do think a lot of creativity depends on your relationships with other people.

3.  J. B. Ballard: Novelist

I think the enemy of creativity in the world today is that so much thinking is done for you. The environment is so full of television, you hardly need to do anything. Children make you see what reality is all about. Mine were a huge inspiration for me. Watching them creating their separate worlds was a very enriching experience. As for learning to be creative, I think there are a lot of skills that you need to be born with. I wrote from a pretty early age, eight or nine, and I’ve always had a very vivid imagination.

4.  Peter Molyneux: Computer Game Creator

Perhaps the greatest difference between people who are creative and people who are not is that the former always think their idea will work. They never think, ‘That's not going to work, that’s a stupid idea’. But a lot of the time I don’t know where my ideas come from. I can remember incredibly clearly the time I saw my first computer game, in a shop window. From that moment on it was as if I’d found my aim in life. I find the computer game is very creative. It brings together many different disciplines: the logic of programming, mathematics, storytelling... The general idea for a game is easy, the real challenge always comes about six months later when you have to design all the parts of the game, and consider things like how many pieces of information players can take before they get confused.

1.  Corinne Day: Photographer

I get my ideas for photographs anywhere, at any time; I don’t have to be specifically doing anything. I keep a diary at home and write down any t houghts I have, and then when a job comes up, I see if there is anything in it that applies. It’s almost impossible for me to switch off. When I was abroad recently, I wanted to get away from taking photographs, so I didn’t take my camera with me. But I could still see pictures all the time and wished I had brought it.

2.  Jan Kaplicky: Architect

Success in my job depends on the people you have around you and how good they are. There are engineers, model- makers, photographers  — architecture is not a one-man product. I come into the office every day. I like to arrive at 8 a.m., as this is a very peaceful period when I can think about things before the usual routine starts and other people arrive. The initial idea for a job comes to me just like that sometimes. Having lots of ideas for one problem is not a sign that you are creative; that’s just a waste of energy. But I do think a lot of creativity depends on your relationships with other people.

3.  J. B. Ballard: Novelist

I think the enemy of creativity in the world today is that so much thinking is done for you. The environment is so full of television, you hardly need to do anything. Children make you see what reality is all about. Mine were a huge inspiration for me. Watching them creating their separate worlds was a very enriching experience. As for learning to be creative, I think there are a lot of skills that you need to be born with. I wrote from a pretty early age, eight or nine, and I’ve always had a very vivid imagination.

4.  Peter Molyneux: Computer Game Creator

Perhaps the greatest difference between people who are creative and people who are not is that the former always think their idea will work. They never think, ‘That's not going to work, that’s a stupid idea’. But a lot of the time I don’t know where my ideas come from. I can remember incredibly clearly the time I saw my first computer game, in a shop window. From that moment on it was as if I’d found my aim in life. I find the computer game is very creative. It brings together many different disciplines: the logic of programming, mathematics, storytelling... The general idea for a game is easy, the real challenge always comes about six months later when you have to design all the parts of the game, and consider things like how many pieces of information players can take before they get confused.

The Airport Express service has been in full operation for the past three weeks. This train service takes you from the centre of the city to the airport very (1) ... (RAPID) and at a very reasonable price. The carriages are comfortable and (2) ... (SPACE) but food and drink is (3) ... (AVAIL) because the journey is short. There is an on-board television service with informaticm-about flights and airport facilities. In (4) ... (ADD), the train has telephones for passengers to use. Many travellers are already choosing the train in preference to a long and tiring journey by car or taxi.

The Airport Express service has been in full operation for the past three weeks. This train service takes you from the centre of the city to the airport very (1) ... (RAPID) and at a very reasonable price. The carriages are comfortable and (2) ... (SPACE) but food and drink is (3) ... (AVAIL) because the journey is short. There is an on-board television service with informaticm-about flights and airport facilities. In (4) ... (ADD), the train has telephones for passengers to use. Many travellers are already choosing the train in preference to a long and tiring journey by car or taxi.

The Airport Express service has been in full operation for the past three weeks. This train service takes you from the centre of the city to the airport very (1) ... (RAPID) and at a very reasonable price. The carriages are comfortable and (2) ... (SPACE) but food and drink is (3) ... (AVAIL) because the journey is short. There is an on-board television service with informaticm-about flights and airport facilities. In (4) ... (ADD), the train has telephones for passengers to use. Many travellers are already choosing the train in preference to a long and tiring journey by car or taxi.

The Airport Express service has been in full operation for the past three weeks. This train service takes you from the centre of the city to the airport very (1) ... (RAPID) and at a very reasonable price. The carriages are comfortable and (2) ... (SPACE) but food and drink is (3) ... (AVAIL) because the journey is short. There is an on-board television service with informaticm-about flights and airport facilities. In (4) ... (ADD), the train has telephones for passengers to use. Many travellers are already choosing the train in preference to a long and tiring journey by car or taxi.

Surveys show that more and (1) ... young people plan to work a great (2) ... longer than people did in the past. In fact, the majority expect to continue working beyond the most typical retirement age of 65. The reasons are that most people’s pension won’t be worth as much (3) ... it is now and we are living longer now. Some companies are also looking for more experienced employees because they already understand the needs of business and they are often better (4) ... their younger colleagues at jobs which require greater concentration.

Surveys show that more and (1) ... young people plan to work a great (2) ... longer than people did in the past. In fact, the majority expect to continue working beyond the most typical retirement age of 65. The reasons are that most people’s pension won’t be worth as much (3) ... it is now and we are living longer now. Some companies are also looking for more experienced employees because they already understand the needs of business and they are often better (4) ... their younger colleagues at jobs which require greater concentration.

Surveys show that more and (1) ... young people plan to work a great (2) ... longer than people did in the past. In fact, the majority expect to continue working beyond the most typical retirement age of 65. The reasons are that most people’s pension won’t be worth as much (3) ... it is now and we are living longer now. Some companies are also looking for more experienced employees because they already understand the needs of business and they are often better (4) ... their younger colleagues at jobs which require greater concentration.

Surveys show that more and (1) ... young people plan to work a great (2) ... longer than people did in the past. In fact, the majority expect to continue working beyond the most typical retirement age of 65. The reasons are that most people’s pension won’t be worth as much (3) ... it is now and we are living longer now. Some companies are also looking for more experienced employees because they already understand the needs of business and they are often better (4) ... their younger colleagues at jobs which require greater concentration.