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'A photograph is often very revealing. I've written an entire novel based on a photograph album owned by the Adjutant and Commander of Auschwitz, and the more I looked at the images he chose to preserve in the album, the more I saw.'
'There's something wonderful about writing when there's snow. It deadens sound and blankets everything with clean lines. It clears out the mind and makes the world a hushed, waiting space to fill with words.'

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.


Syd Moore speaks with Doug Johnstone about Essex witches and their influence on her books, her new project exploring the Occult in World War Two, and the dilemma of whether to address or ignore the Covid-19 pandemic in an ongoing book series.

'I am a planner. But a kind of magic happens in the writing itself, whereby plots I’ve planned don’t work, or need modifying, or veer off in unexpected directions, not to mention the pesky characters. They have an annoying habit of being autonomous.'
Pamela Scobie considers recurring themes in her fiction and asks, Have I written the same novel six times?
'In a London-centric publishing industry that has long sidelined the North West in fiction, I’m making a name for myself, not only as a writer of wrongs in Manchester, but also as an author of historical saga, set in the NHS’s first hospital in Trafford. '
'I whittled the cemeteries down to two. My editor was adamant — two was still too many. She was right. My personal, emotional, response was blinding me to the fact that if I wanted to write about cemeteries of World War I, I should write a different book. '
'I choose to walk through Victorian parks with Edwardian characters, rather than real-life friends. Sometimes the characters hold my hand. Mostly they’re cross with me, annoyed, critical, but it’s my job to understand them, not theirs to understand me.'
'My friend’s untimely death galvanised me: I went on an Arvon course, primed by the book she had told me to read, my head stuffed with the English Civil War. As I sat at Lumb Bank, I saw a man sailing away from England. He trailed destruction... '
'A thoroughly enjoyable event for my World War One novel was based around a period afternoon tea, complete with posters, bunting and wartime recipes, and the question and answer session occurring speed-dating style as I moved around tables. '
Richard Lambert tells of his first encounter with two famous twentieth-century forgers and how his interest in them inspired fifteen years of writing and research.
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