Whether it's in Jobcentres or in Whitehall, young people are constantly coming up against a narrative that portrays them as lazy and feckless, when in reality nothing could be further from the truth.

My awakening to the fight for women's votes came when I was 13, and the BBC screened a drama called 'Shoulder to Shoulder' about the suffragettes, with the great Sian Phillips as Emmeline Pankhurst. It made a huge impression on me - not just the history, but because of the debates it triggered at home.

The destructive impact of employment tribunal fees, which were introduced in 2013, is by now well known.

When I first started campaigning to become an MP in 2004, we were suffering as a party because our hierarchy and leadership were totally detached from the party's membership.

I learned with 'The Disaster Artist,' when I was writing the book, the audience will follow you if you really try to do something different. The biggest thing is, you want to be genuine and try to surprise your audience with kind of a new direction.

You see, I have in my teaching - I always say I've done it for a hundred years and have had thousands of students - I have always spoken against just falling onto your knees for so-called accidents, I mean a result you are not responsible for.

Education has rules and parameters. Women outperform men when the parameters are clear.

In many ways, theatre is more rewarding for a writer. I used to think it was like painting a wall - that when the play is finished, it's done - but now I realise it's more like gardening; you plant the thing, then you have to constantly tend it. You're part of a thing that's living.