Bryan had shown him his manuscript, "the magnum opus" entitled The Last Bus Driver. "Well," Martin murmured politely when he returned it to Bryan, "it's certainly different. And you can write, there's no doubt about that." And he wasn't lying, Bryan could write, he could take a pen with turquoise ink in it and make big, loopy joined-up handwriting with verbs scattered randomly throughout sentences—sentences that in every comma and exclamation point screamed crazy. But Bryan knew where Martin lived and so he wasn't about to antagonize him.Kate Atkinson, One Good Turn (New York: Little, Brown & Co., 2006), p. 56.