My university tutor Raymond Williams.

I remember one teacher in particular. I was in a school in the third grade and they were thinking of skipping me, putting me in a higher grade. But then somebody said that would be bad psychologically. So, for that entire year, because I had learned all the lessons that year — the multiplication tables, whatever the reading was — this teacher let me go off by myself and draw pictures. So I had hours and hours of time where I was just left to my own devices, drawing pictures. And she would encourage me. That was a wonderful period in my life. I mean, I didn’t become an artist, but somebody let me do something I loved. What a luxury, to do something you love to do. I would still like to have that luxury, to be able to just sit and draw for hours and hours and hours. In a way, that’s what I do as a writer. I just sit by myself, being in my own mind, not being directed at what I should be doing moment-by-moment, not having a clear plan set out by anybody and just letting imagination enter into the blank page. So in that respect, I can thank Miss Grudoff of the third grade for allowing me that.

I always suspected that she was the biggest influence on me. It seems unlikely, but I always suspected that. I used to say that in interviews, and people would think I was just being smart and evasive. But I reread Jane Eyre recently, and also Villette , her other great novel. I just came across episode after episode where I thought “Oh my goodness, I just ripped that off from this book!” Perhaps you wouldn’t recognize it, but I did. Certain kinds of techniques, certain moments when you understand that the narrator is crying, not because she tells you, but because somebody watching her makes a remark. All these little things that I thought, “Oh, I used that in that book,” or “Oh, that trick.” I think Charlotte Brontë had an enormous influence on me, and I think it’s something to do with that use of first-person and the evasiveness, the indirectness, of her first-person narrative. I mean this phrase, “the unreliable narrator,” has become very popular in creative writing. So it’s not quite that, but a very subtle use of the relationship between the writer and the book and the reader — something I tuned in on, I homed in on instantly, when I started to read Charlotte Brontë. But I’ll tell you, my favorite author — novelist — is somebody who you probably wouldn’t think had any relationship to me, which is Dostoyevsky. I’ve always loved Dostoyevsky, ever since I first read him. I think he’s one of the reasons I started to read, you know, when I read Crime and Punishment when I was about 17 or 18. Dostoyevsky and Chekhov for me remain like two poles in terms of a way to approach things. I love the messiness of Dostoyevsky, the improvised — I mean a lot of it is a mess, but I like the way that strange, unexpected things have obviously come tumbling out of him that he didn’t want to necessarily have come tumbling out. On the other hand, you know, Chekhov, another great Russian writer, exemplifies the calm, controlled, very carefully structured, understated kind of work. I aspire to them both. They’re two of my great heroes.

And then Octavia, I open up her books and the protagonist is a Black girl. And both the Blackness and the youth matter here, that it was like, she was writing people who were 15 years old and who already had a sense of destiny and a sense of, the world needs to change, and I’m going to shape that. I’m going to be a part of that. And she was very solution-oriented in her writing, she was very practical in her writing, so everything is very clear. You’re not going to read Octavia and come away confused.

For me, too many chefs and too many restaurants are too precious about what they serve. They create what they see as a temple of gastronomy and it becomes an experience of how fantastic everything is, rather than 'just come and have a nice time'. That's it... it's that simple.

With friends, it’s good to know where you stand. I’ve surrounded myself with people who are very open. Lots of the blokes I know are very emotional: we have honest conversations.

The team’s achievement of winning 2 Michelin stars in 2012.

That everyone understood and respected the food pyramid, the way it all works. Good food doesn’t come cheap. You know, there’s a lot of heart and soul and care that goes in producing as well as cooking. So I’d give a little bit more love to farmers.

It’s very easy to get caught up in a habit of work hard and play hard. I couldn’t tell you how much I used to drink in a week – I haven’t got enough fingers. I own two pubs and had built up a reputation of being the best party person in the industry. It got to a point where I realised I was getting too old to be that guy. Now I enjoy the challenge of being on a stag weekend for three days, but drinking Diet Coke and coffee.

Exactly. The biggest misconception people have about chefs is that they are just one person. But that couldn't be further from the truth. Restaurants are all about the teams, people working together efficiently in a small space and getting the best results again and again.