I tend to write songs fast, so the process usually only lasts around 30 minutes. In the studio is where I really can artistically breathe, and let my ideas flow.
I have no idea who the characters are, later, their personalities take over anything I might want to do. I end up writing not from my own will, but from theirs-they come alive as I write and make me do things that I couldn't have planned.
For me, writing has always come out of living a fairly to-the-bone kind of life, just really being present to a lot of life. The writing has been really a byproduct of that.
A pioneer in this genre [ writing about the refugee crisis] : the book A Seventh Man, by the great John Berger, decades ago evoked the lives of migrant workers in Europe.
They tell me that So-and-So, who does not write prefaces, is no charlatan. Well, I am. I first caught the ear of the British public on a cart in Hyde Park, to the blaring of brass bands,and this . . . because . . . I am a natural-born mountebank.
Hold those things that tell your history and protect them. During slavery, who was able to read or write or keep anything? The ability to have somebody to tell your story to is so important. It says: 'I was here. I may be sold tomorrow. But you know I was here.'
But I love to entertain. My vocation is to accrue all these experiences, to write about them, to get them out of my system, to not get sick, and then to share them publicly.
As for the story, whether the poet takes it ready made or constructs it for himself, he should first sketch its general outline, and then fill in the episodes and amplify in detail.
I started out being a stand up and writing my own material. That took me to Talk Soup, where I was writing and performing for TV. So everything is all the same job in my eyes, and I don't want to ever give up any part of it. I will say that stand-up is my first love; it's how I got started and is in my bones.