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Lottie Moggach speaks with Catherine O’Flynn about following in the footsteps of a novelist parent, the joys of plot and research, the experience of diving into writing historical fiction, and how to answer when someone asks you what you do.


Bethan Roberts speaks with Catherine O’Flynn about the inspiration found in small details from real lives, writing for radio, and the productivity merits of her cafe habit.


Bethan Roberts speaks with Catherine O’Flynn about her family tradition of oral storytelling, becoming a novelist after abandoning literary theory, and accidentally writing a novel about Elvis.


Catherine O'Flynn is surprised by the dearth of literature about car boot sales, the ideal place to take your internal apocalpysometer for a spin.

Stuart Walton recalls the Pleasureland Fairground, home of ‘The Rides’, an experience that grew with him and his sister throughout their youth.

'Every day starts for me with The List. As this technically involves use of a pen, I feel that even if nothing more gets done, I can truthfully say that I have written.'
'I decided enough was enough. I was going to write this novel in the right order, starting at the beginning, and progressing in a masterly authorial manner, to the very end; I would tame my process.'
'I've posed with my elbows atop a pile of my own books, grinning unreliably like a disastrous QVC presenter; I've been listed on a menu as the starter, main course and desert to be served at three adjacent tables of indifferent US journalists.'
Catherine O’Flynn explores the relationship between cleaning and writing. How what starts as a simple displacement activity for writers stuck at home leads to contemplation of exactly the kinds of big themes they might have hoped to escape: concealment, artifice, futility, death.

Kathleen Jones revisits the remote hill farm she grew up on in Cumbria, and the landscape that shaped her.

Catherine O'Flynn explores the hidden spaces of Merry Hill, the suburban shopping centre where she used to work.

Doug Johnstone ponders his adopted city of Edinburgh, a literary capital that he was nervous of using as a setting for his novels.

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