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In 1978, when I was 17 and in my first year at university, I read approximately 3,500 pages of Dickens.

'The Crimson Petal and the White' is a book, and it will win or lose the trust of each reader when they begin reading its pages. That relationship will go on.

With television, sometimes the writing is continuous and happening at every moment, and you'll get new pages at the last moment. We have to incorporate that into what it is that we're doing.

The first pages of any book I remember reading, in Pinner Wood primary school, were from The Beacon Readers: stories of Farmer Giles, Rover the Dog, Old Lob the shepherd and Mrs Cuddy the Cow. I was very fond of Mrs Cuddy.

I finished my first novel - it was around 300 pages long - when I was 16. Wrote one more before I got out of high school, then wrote the first Lincoln Perry novel when I was 19. It didn't sell, but I liked the character and I knew the world so I tried what was, in my mind, a sequel. Wrote that when I was 20, and that one made it.

Honestly, soaps are great training. You're doing 90-plus pages a day. It was my acting class, where I built my foundation for showing up and being professional.

I got a young black woman agent, and she kinda just knew what I would be attracted to. She sent me this pilot for 'Insecure.' I never saw myself as a comedy director, but when I read those pages, I said, 'Wow - this is my life on the page.'

I've just found out there are pages on the internet dedicated to whether I'm gay or not.

I'm about 75 pages into a book on poetry. I don't know if anybody wants to read it. It's on any broad variety of subjects. I walk down the street and think of a topic and jot it down and say, 'Okay, that's another one.' They go from the humorous to the serious to every topic imaginable.

Then years back, when I moved to California, I happened to see a book about fashions of 19th-century Victorian England, only four pages of which was devoted to the dress of the working class.

I only read the left-hand pages, so I finish books twice as fast.

I admire writers such as Elmore Leonard who can nail a character in three or four lines of dialogue, so he doesn't need pages of back story or clumsy exposition.

I am trying to give the best performance possible in 400 pages. I want readers to be scared; I want them to be moved. Entertainment doesn't necessarily mean something trivial, but it does mean people wanting to get to the end of a book.

I see my responsibility as to give people something they want to keep turning the pages of and giving people something to chew on, looking at some aspect of human nature that hadn't occurred to them recently.

A novel is 400 pages; it's an endurance race. There's no artist, so I have to describe everything. It's all prose. Whereas with comics, I can rely on the artist. It's really wonderful to have that collaboration and to not always feel the burden of describing everything myself and also just to have someone who can paint the world.

Writing is agony for me. I work at it eight hours every day, hoping to get six pages, but I am satisfied with three.

PR and marketing doesn't sell books. It gets attention for them. It sends readers to bookstores and websites to read a few pages.

Normally, when I read a script, I read 30 pages, and then go have a cup of tea and come back. And then, I read 20 pages and go make a phone call, and then go back to it.

I liked to think I had written 'scripts' when I was in high school, but looking back at them, they were about thirty pages of wannabe-Mamet dialogue with a staple through them.

There's two or three lifestyle pages that I like. I like Hypebeast, and obviously, I follow @BritishGQ.

At school, I would read the City pages before I read the sports pages.