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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.

'Martin Amis once observed that Nabokov was very good at getting characters from A to B. In Nabokov, events melt into one another in a way I find dreamlike, and Nabokov, like Graham Greene, did record his dreams.'
'My default reading is old thrillers, specially the novels of Simenon, of which there are a lot. I particularly like thrillers dating from the seventies.'

Tim Pears speaks with John Greening about how family history took him from contemporary novels to historical ones, eschewing psychology for a newly filmic style of fiction, seeing his work on television and the benefits of a hands-on early career.

'I'm resistant to fiction that thinks itself extravagantly imaginative; magic realism, say. Because there's usually no narrative tension, no humour, and the dialogue is unbelievable. '
'The next best thing to stopping time is to chronicle it, and then forge its intangibility into a physical object; an article or a book.'

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.

Having grown up with a chronic illness, Ann Morgan became fascinated by the number of other writers who have suffered from poor health and by the way some have explored this in their writing.
All writers are familiar with the horrors of the blank page, but just what is the process that leads to filling it with words? Neil Rollinson has some thoughts on this, and on what happens after words are committed to paper.
Audiobooks are for non-readers, thought Katharine Grant — before she tried them and fell under their spell. Now, reading Joyce, she has become ‘one of those laughing walkers you instinctively avoid’; reading Edmund de Waal, she is a woman who cries at the supermarket checkout.
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