Andrew Motion

I'm an early bird, partly because I like to have some quiet time and partly because by 9am emails begin arriving, the phone starts ringing and I have dragons to kill of one sort or another.

You see the names of places roundabout? They're mine now, and I've turned them inside out.

I'm also a great believer in the dream life; that while we're asleep, a deep subconscious connection is made about our profoundest fears, hopes, loves, losses, dreads and desires.

These places, and the ancient things you know, You won't know soon. I'm working on it now.'

If I were to die thinking that I'd written three poems that people might read after me, I would feel that I hadn't lived in vain. Great poets might expect the whole body of their work, but most of us - well, I would settle for a handful.

There are plenty of examples of people who have had busy lives out there in the world, trying to do good, and written very well at the same time.

I read 'Treasure Island' for the first time at university. And I started to notice then how unresolved some things were. Later, I realised that Stevenson was interested in sequels, and I wondered whether he would have gone back to it had he lived longer.

I've always thought that the balance between the side of my mind that knows what it is doing and the side that really hasn't got a clue has to be carefully maintained because if you write too knowingly then you get chilly, and if you write too unknowingly you write bollocks that nobody else can understand.

Well, it's a badge of honour for any self-respecting poet to be criticized by Auberon Waugh. But in a lot of ways my poems are very conventional, and it's no big deal for me to write a poem in either free verse or strict form; modern poets can, and do, do both.

Each sudden gust of light explains itself as flames, but neither they, nor even bombs redoubled on the hills tonight can quite include me in their fear.

But Wordsworth is the poet I admire above all others.

But I can't and don't ever want to write bell-yanking confetti-tossing hat-throwing poems.

Pretty much the day I stopped being laureate, the poems that had been few and far between came back to me, like birds in the evening nesting in a tree.

I am writing more than I have ever done. My life has come back to me in the most extraordinary way.

But in a lot of ways my poems are very conventional, and it's no big deal for me to write a poem in either free verse or strict form; modern poets can, and do, do both.

I am a vigilant monarchist. I want to see things evolve. The direction the monarchy seems to be moving in - towards a more mainland-European model - is one I would feel sympathetic about.

I've found a different way to scent the air: already it's a by-word for despair.

Pretty much every weekend, my wife and I have the shall-we-live-in-the-country conversation. I suppose it's something to do with getting older and feeling I want to shed some of the things I've been doing for the last 20 years and go back to my roots.

I like eating out. I like buying beautiful paintings and being surrounded by beautiful things. I have to finance that life. I can barely afford a pension scheme because I don't make enough money.

I'm not much given to making shamanistic remarks about all this, but I'm a great believer in the dream life. If I can carry without spilling whatever it is that drips into my head in the night to my desk, then that's valuable.

Thanks partly to the kind of poets that we now have and partly to funding, there's been a gigantic shift in the way poetry is perceived... Poems on the Underground, poets in schools, football clubs, zoos.

I wanted to reimagine the role, in a way that was respectful of its traditional responsibilities but made them part of a wider pattern of poetry about national incidents, events, preoccupations; and to spend a great deal of time going to schools trying to demystify poetry.

I shall try to write a poem that is about the moment but doesn't betray things that are true to me as a poet.

I get up at 5.30am, sluice myself and have two Weetabix and some mint tea, before starting to write by 6am.

If people connect me with the Romantics in general, they probably connect me most with Keats. But Wordsworth is the poet I admire above all others.

Those who say we should dismantle the role of Poet Laureate altogether, the trick they miss is that being called this thing, with the weight of tradition behind it, and with the association of the Royal family, does allow you to have conversations and to open doors, and wallets, for the good of poetry in a way that nothing else would allow.

I'm not precisely saying that a really good board meeting at the MLA (Museums, Libraries and Archives Coucil) makes me want to go and write poetry, but there is a pleasure in doing that sort of thing well.

In a fragile environment, we need to be aware of ourselves as members of a uniquely powerful species living among other species who are quite as interesting as we are but vulnerable to us because we are cleverer in more destructive ways.