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In this installment of 'My Favourite Author', we examine the influence that favourite authors have had on RLF writers' work, considering the technical, personal and cultural effect that prominent literary figures have had on their admirers.

'The freelance life is, in many ways, compatible with motherhood. I dropped bits of teaching, but mainly just said 'no' to unpaid work and my income barely changed. Breastfeeding allowed me lots of reading time; naps are blurb-length.'
'There is nothing I love more than learning about a new genre, taking it apart and working out how it works. Whether it's the dramatic monologue or a First Experience picture book, propaganda or a rom-com. '
'My first year at Latitude it was baking with sunshine and I ended up having a drink under a tree with John Cooper Clarke, who heard one of my gloomy poems and called me 'Sylvia'.'

In the second installment of 'My Genre’s Status', RLF writers consider the challenges and opportunities that come with working in a booming or highly regarded genre, with the effects of technology, the impact of high-profile prizewinners and bestsellers, and the perils of marketing all playing a role.


In ‘Writing vs Life: The Pram in the Hall’, we talk to a number of RLF writers about the challenges of balancing parenthood and a professional writing career, and whether mothers and fathers still have differing experiences in this area.


Clare Pollard talks with Julia Copus about her experiences of motherhood, her thoughts about politics, and how it feels to be labeled a ‘Bad Girl’ of the literary scene.


Horatio Clare ponders the necessary pragmatism of the professional writer, and shares a glimpse of what writers really talk about amongst themselves.

Clare Pollard celebrates the playfulness and variety of nonsense verse, sharing examples from across the centuries.

Ezra Pound's Cathay is one hundred this year. William Carlos Williams said that if they’d been original poems they'd have made Pound the world's greatest living poet. But the poems were translations from Chinese – a language Pound could neither read not speak. Yet Clare Pollard argues that Pound felt his way through the poems with an integrity that set a new bar in translation.
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