TOM BROWN

One of the weird things about writing a novel set in the near-future was watching real life catch up with the imagined world of my story. It’s probably not a problem for more outlandish visions, but since So Long, Shakespeare depicts a future just one or two steps advanced from where we are now, there was always a slight fear that reality might overtake fiction if I didn’t get a move on.

The two most susceptible strands of my plot related to the discovery that artistic creativity is a genetic absolute. As yet, of course, there is nothing but speculation as to the possibility of this, or indeed its potential implications. In my novel, however, the discovery happens pretty much at the start, before being dramatically addressed in two ways. There’s the mathematical angle, whereby a stubborn Stratfordian accidentally uncovers the numerical manifestation of the creative gene at work…

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