[8] There, he attended Prinknash Abbey, Gloucester, studying philosophy and theology (1963–67), St Clare's Hall Oxford, gaining a BA Hons.
He has published poetry in several anthologies and journals, including Colours of a New Day: Writing for South Africa (Lawrence & Wishart, 1990), Caribbean New Voices 1 (Longman, 1995), Trinidad and Tobago Review, Cross/Cultures 60 (Editions Rodopi B.V. Amsterdam – New York, 2002), Agenda and Wasafiri.
[12] He has also researched extensively the life and times of Trinidad's 19th-century artist Michel-Jean Cazabon,[13] which work informs his 2012 novel Light Falling on Bamboo.
[21][22] A 25th-anniversary edition of Witchbroom, published by Papillote Press, was launched in Trinidad at PaperBased bookshop in Port-of-Spain on 18 March 2017, with a keynote address by Earl Lovelace and readings by Ken Ramchand, Barbara Jenkins and Marina Salandy-Brown.
"[24] According to the review in BookBlast, "Lawrence Scott weaves a magical, lush tapestry of words and images, bringing alive local legends and family narratives; and redressing written histories.
The reader surfs a tidal wave of addictive fascination like a Dickensian tricoteuse sitting beside the guillotine in Paris watching heads roll during the public executions of 1793-4.
"[26] Scott's second novel, Aelred's Sin (1998), described by Raoul Pantin as "a fine and sensitive and compassionate book…a worthwhile contribution to the hallowed tradition of West Indian literature",[27] won a Commonwealth Writers' Prize Best Book (Canada & Caribbean) in 1999.
[30] Set in early 19th-century Trinidad, while the novel is a re-imagining of the life of the celebrated landscape painter Cazabon, according to Monique Roffey's review in The Independent Scott captures so much more.
[...] the loving attention that Scott devotes to detail, sensitivity to light and colour, and his determination to capture the many tones of his landscape and people give his romance a translucence and luminosity that is wondrous to behold.
[34] Alexander Lucie-Smith wrote in the Catholic Herald: "Scott’s writing resembles that fretwork familiar from decaying porches and window frames: intricate, almost rococo, and because Trinidad is such a multi-layered place, because nothing is simple, his style is perfectly suited to his subject.