THE START OF THE STORY

A couple of dulled copper kitchen pots, a terrible memory of a wounded animal, an inauspicious birth: why does the story start where it does (and how many goes does a novelist need to decide just how the story needs to start)?

Why did Kirsty Manning link the past and present in her evocative Midsummer Garden?

How did Libby Angel find inspiration in 1960s Adelaide for her rollicking The Trapeze Act?

And how much of Sally Abbott’s impetus for her futuristic Closing Down came from chance encounters with the past?