Passage1
　　W: When you write a novel, do you know where you’re going, Dr. James?
　　M: Yes, you must, really, if you’re writing the classical detective story, because it must be so carefully plotted and so carefully clued. I have schemes. I have charts. I have diagrams. It doesn’t mean to say that I always get it right, but I do plan before I begin writing. But what is so fascinating is how a book changes during the process of writing. It seems to me that creative writing is a process of revelation, really, rather than of creativity in the ordinary sense.
　　W: When you’re planning the basic structure, do you like to go away to be sure that you’re by yourself?
　　M: I need to be by myself certainly, absolutely. I can’t even bare anybody else in the house. I don’t mind much where I am as long as I’ve got enough space to write, but I need to be completely alone.
　　W: Is that very important to you?
　　M: Oh, yes. I’ve never been lonely in all my life.
　　W: How extraordinary! Never?
　　M: No, never.
　　W: You’re very lucky. Someone once said that there’s a bit of ice at the heart of every writer.
　　M: Yes. I think this is true. The writer can stand aside from experience and look at it, watch it happening. There is this ‘detachment’ and I realize that there are obviously experiences which would overwhelm everyone. But very often, a writer can appear to stand aside, and this detachment makes people feel there’s a bit of ice in the heart.

　　19. What is the key to write a good classical detective story according to the man?
　　20. What does the man mainly need when working on a book?
　　21. What does the man say about writers?

　　Passage2
　　W: There is an element there about competition then, isn’t there? Because British railways are a nationalized industry. There’s only one railway system in the country. If you don’t like a particular kind of big beans, you can go and buy another. But if you don't like a particular railway, you can’t go and use another.
　　M: Some people who write to me say this. They say that if you didn’t have monopoly, you wouldn’t be able to do the things you do. Well, I don’t think we do anything deliberately to upset our customers. We have particular problems. Since 1946, when the Transport Act came in, we were nationalized.
　　W: Do you think that’s a good thing? Has it been a good thing for the railways, do you think, to be nationalized?
　　M: Oh I think so, yes. Because in general, modes of transport are all around. Let’s face the fact. The car arrived. The car is here to stay. There is no question about that.
　　W: So what are you saying then? Is it if the railways happen being nationalized, they would simply have disappeared?
　　M: Oh, I think they would have. They’re disappearing fast in America. Er, the French railways lose 1 billion ponds a year. The German railways, 2 billion ponds a year. But you see, those governments are preparing to pour money into the transport system to keep it going.
　　W: So in a sense, you cope between two extremes. On the one hand, you’re trying not to lose too much money. And on the other hand, you’ve got to provide the best service.
　　M: Yes, you are right.

　　22. What does the woman say about British railways?
　　23. What do some people who write to the man complain about?
　　24. What does the man say threatens the existence of railways?
　　25. What does the man say about railways in other countries?