about and not wm e‘fir wit "flour ml 2666 ‘u16il "flour il16 talking about and not listening to what is being said in my ear. i can also hear myself which is slightly discombobulated. you were being haunted by headlines which were hovering. i can see things which you cannot see. let's go back to the daily telegraph. i feel slightly embarrassed doing this story. put your towel on a sun lounge before your towel on a sun lounge before you even go on holiday. how can you do that? you can do it because you can now book it. when you book your holiday you can book your sun lounge and make sure they are not all taken when you get there. the joke comes in paragraph three where it says the service has been available to germans for three years. so when you come to bucket it may already be booked. i suppose the people who booked. i suppose the people who booked them use them. the problem is when people do not use them. how

much does this service cost? when people do not use them. how much does this service cost7m when people do not use them. how much does this service cost? it is about 25 euros. a day or post a? i don't know. look how pale skinned i am,| don't know. look how pale skinned i am, ido don't know. look how pale skinned i am, i do not sit in the sun. i could go somewhere cold and mountainous. 25 for the lot i think. people do complaina 25 for the lot i think. people do complain a lot about this, not having enough access to some loungers. you have to get up very early. it does not increase the number of some loungers, does it?|j do not want to use the phrase rearranging deck chairs on the titanic but we are surely thinking it. there is only a limited number. people will be crying sitting on the ground. speaks german. that is what

you would say in german. you should ask in the language of the country you are visiting. that is it for the papers now. don't forget you can see the front pages of the papers online on the bbc news website. it's all there for you — 7 days a week at bbc.co.uk/papers — and if you miss the programme any evening you can watch it later on bbc iplayer. we will be back at 11:30pm and do it again. natalie and rob, thank you very much. now it's time for meet the author. there is something about louisa clarke, lou, that has turned the novels of jojo moyes into international bestsellers. she's a heroine whose life appeals to readers who do not want to let her go. now, after me before you and after you comes still me, in which lou fetches up in new york in a different world, as personal assistant to a socialite whose rich family holds out a few secrets. what will happen to lou's old boyfriend, paramedic sam,

when she meets and falls for an american who bears a spooky resemblance to an old flame she knew before sam? if you are a reader who follows lou, you will want to know. welcome. what do you think it is about lou that makes her such a compelling character for your readers? i think she's an everywoman, the fact she is on the surface such an ordinary person makes it very easy for a wide variety of people to identify with her, but she also has an inherent goodness. not necessarily a niceness, because she can be sharp. but there is no snark to her, and in an age of snarkiness, people find that refreshing.

in this book she is transported to a newjob in new york, and she finds herself in a family, a slightly weird family — of course, because that's what stories are made of — and she is thrown into the social whirl of very rich new york life. of course, it is completely beyond her experience. part of the joy of having a character you can revisit is to put them in an alien landscape. there's not much more alien than the fifth avenue social world. there's not much more alien than the fifth avenue social whirl. something i found interesting about louisa's position is that when you enter the world of the very rich or the super—rich, they are people who have become accustomed to having people living around them, they are observed at all times yet they have to live as if they are not. there is that inherent tension between the people who are serving them and the people who are living, that i find really interesting.

without going into details, i don't want to spoil the plot for those who will enjoy reading the book, but it all comes unstuck for her in a pretty terrifying way. it's sort of put back together again, which fulfils your reassuring criterion, but i like the description of the everywoman, because you do sense that this is somebody who is going through something we can all imagine. we can feel what it's like for her. exactly, when i write louisa i try to really put the reader into her shoes. you feel things as she feels them, it's almost like, i don't know, inhabiting someone's skin, and that's quite different if you are writing in third person. i found it very easy to pull people along with louisa. we are inside louisa, lou, her love life is a bit of a mess in this situation, in new york. sam the paramedic, who is her man, back in london, he turns up.

that's all very nice but she has an encounter with someone who reminds her of another man. i don't think it's too much of a spoiler to sayjosh reminds her of will, but when i speak to people who have lost someone close to them, they see them everywhere. that can be quite discombobulating, because i think you don'tjust see them in the street, you project onto them, and i think that is something that happens a bit in this book. do you ever find yourself getting a bit fed up of her? this is the third outing, clearly she's very successful so you are fond of her in that sense, but do you ever think, oh, no, i must think of something else for her to do? that's it, this is the third book, from the day i knew i was writing book two i saw it as a trilogy, a horseshoe shaped trilogy. so that is it. i actually felt really sad to let her go because you know what it's like, some characters come to life immediately, others you can write half of a book and still not be entirely

sure who they are and that can be really frustrating because they don't lift off the page in the right way. with lou, as with will in the first book, they landed fully formed in my lap. i knew what their responses would be in any situation and that made it an easy thing to write. it's a great gift for an author to have that sense of the character, fully formed. how did that come about? what was it about her that allowed you to have that clear idea of how she would respond to any challenge? it was quite bizarre, i sometimes have scenes enter my head, and it was the scene in the first book where they are dancing at a wedding and she is sitting on his lap, a man in a motorised wheelchair, she slow dances with him at a wedding to the appalled fascination of the other guests, and he says to her, because she's sort of here — you would have never let those breasts so close to me if i hadn't been in a wheelchair, and she says you would not have noticed my breasts if you hadn't been in a wheelchair. and in those two sentences i knew

who they both were and how well they understood each other. it's interesting that you describe that scene almost in filmic terms. are you one of those writers who almost imagines in a way that you are behind a camera, which is moving and picking up scenes? absolutely. i have to play a scene through filmically in my head to see if it will work. i lie on the floor of my office and i run through lots of different varieties. there are writers who, and it's quite difficult to understand this, but who don't see it in that way, don't see it like a stage where people are walking in and off and the camera moving. but they have some sort of different mental process. it's quite a difficult thing to grasp. i'm always fascinated by how other writers do it because you just never know. i don't understand writers who don't plot, i can't imagine the fear of stepping off into the unknown and not knowing roughly where your characters will land. some writers say they are terrified by the idea of having it all written out, with the arc of the story, or whatever cliche

we choose to apply. they must set off on to the wide ocean and see where the boat ends up. you can't do that? i have a rough idea. four times out of five, it will deviate quite significantly. you will invent things as you go. characters run away with the plot and all the rest, but i have to have a rough idea of theme if nothing else. my constant question to myself is, what is the story really about? i'm sure if there were a group of readers here, they would say to you, if they were keen on the books and had enjoyed them, they would say, why are you taking her away? and they would ask you the inevitable question authors are doomed to answer, what happens to her afterwards? i quite like the idea that that might be in the reader's imagination. me before you was an odd book because it was peculiarly open ended, we ended up with her walking away in a street in paris, and ifound i kept asking myself the question,

what would happen to you after being part of such a catastrophic life—changing event? if you were part of somebody ending their life, you could not walk away from that with a bounce in your stride. even if you thought you were 0k, it would come back with a terrible kind of profound resonance in your life. that was really the question — what happens next? i feel like she's done now. i don't want people to think i'm flogging a stripey legged dead horse, so i might revisit her in a short story one day... ah! but as far as novels go, that's it. readers are free to imagine she lives more or less happily ever after. i think they will have to read the book and decide where that goes. jojo moyes, author of still me, thank you very much. thank you so much. hello there. good evening. a very

mild weekend will give way to something a bit chilly over the next few days. this band of rain will be pushing its way southwards overnight. some heavy rain for a while across scotland and northern ireland and later coming into north—west england and north wales. to the south, a bit cloudy with blustery winds. very mild to the north of the band of rain, we have some chilly air. the band of rain continues to push southwards on monday. the last of the mild air getting squeezed into the near continent and something milder will follow on behind. we head into the mild air in the morning. i'll start once again across southern parts of england and wales, across to lincolnshire where it will probably be dry for the most part. mid north wales beginning to see some rain coming in. some heavy rain over the hills of north—west england.

behind that, we are into the chilly air where there are some showers around. it is just about cold enough to give some snow over the higher ground in scotland. this band of rain continues to push southwards through the day. in the afternoon there will be some gusty winds for a while. we will get some late sunshine in the midlands. sunnier skies in the north west. a range of temperatures on monday. still mild in the south. as the rain clears away, skies clear as well, and it will be chilly early tuesday. it is across southern and south—eastern areas, where in the countryside there may be a frost around. here, a bright start with some sunshine on tuesday. through the day, while for many of us the winds are light, we will see cloud start to increase. we have some rain later on in the day. the rain in the south—west is a bit half—hearted. the more significant rain comes back into scotland and northern ireland. the weather front sweeps its way across the whole of the country

overnight, pushing down another plunge of cold air. the winds coming away from the north—west. this is colder air than we will see on monday. it is turning colder from around mid week onwards. it will feel cold in the wind. there could be some wintry showers. this is bbc news. the headlines at 11. a 28—year—old man is charged with causing death by dangerous driving after a crash that killed three teenagers in west london. the prime minister comes under new pressure from her own backbenchers over brexit negotiations, amid reports of a possible leadership contest. the founder of the swedish furniture giant ikea, ingvar kamprad, has died at the age of 91. and in melbourne, roger federer wins his sixth australian open and 20th grand slam title with a victory over marin cilic. and in half an hour we'll take

another at tomorrow's front pages, including the telegraph's latest on brexit divisions in the conservative party.