In recent decades I've largely read novels or non-fiction, but then I got involved with a community based RLF project, the Reading Round, which is entirely built around short fiction, and my interest was revived.
Elanor Dymott speaks with Robin Blake about storytelling’s essential role in the British legal system, migrating from law journalism to fiction, and the childhood origins of an unsettling recurrent theme in her writing.
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.
Tania Hershman appreciates the stimulus of unusual residencies. She began in a biochemistry lab, and then became a living writer-in-residence in Manchester's Southern cemetery, the second largest in Europe.
Regional dialects used in writing can offer a richness and vitality not to be found in works written in standard English, argues Ray French. Then why are publishers wary of committing to this kind of writing?
In the course of his writing career, Brian McCabe has discerned the influence of a number of other writers on his own work — influences which may or may not have proved enduring. Here he considers some of the more important.
Knowing the writer inevitably quickens the pleasure of reading the work. Olga is an unusually complete writer; all she does is imagine, plan, plot and write.
I both know how it works, and don't know how it works. The best metaphor I can come up with is mayonnaise; you put all the ingredients into the mixer, press the button.