The Inkwell Podcast

This episode is a little longer than usual, because I’m tackling a question that is worrying many writers right now. Barely a week goes by without another publishing scandal over AI accusations. It’s creating an atmosphere of mistrust and fear, leaving many writers anxious, even those who’ve never used AI in their work.

This week, I’m answering an Inkwell member’s question: how do we make sure we’re not using AI in a way that puts us at risk? And can AI still play a role in researching a historical novel?

In this episode:

* Where most publishers and agents stand on generative AI, and the practical reason why.

* The difference between AI-assisted and AI-generated, and where the line blurs.

* The writing tools that can change your words without you realising.

* Whether AI has a place in your research.

* Simple habits that could protect you if your work is ever questioned.

Useful Links:

* Society of Authors on AI: https://societyofauthors.org/2025/06/26/artificial-intelligence-practical-steps-for-members/

* Society of Authors, Human Authored:

https://humanauthored.co.uk/

* Authors Guild, Human Authored: https://authorsguild.org/human-authored/

* Authors Guild on AI: https://authorsguild.org/advocacy/artificial-intelligence/impact/

And don’t forget, if you’re an Inkwell member, you can submit your question here. I’m waiting to hear from you!

Today’s question comes from Anonymous, who’s completely overwhelmed by how much information is out there for their historical novel and has been stuck researching for months, too daunted to start writing.

This is a common trap for historical fiction writers. The truth is, you’ll never know everything you could, and that’s exactly why ‘enough’ is what we’re aiming for. But what exactly does enough mean?

In this episode I cover:

* Why research and writing aren’t separate stages

* The difference between big-picture and detail-level research, and when to shift from one to the other

* How to tell when research has become procrastination

* The one thing you actually need before you start writing

* Plot-critical facts vs. texture details, and which ones are allowed to wait

And if you’re navigating this as you write your historical novel, my course Getting Started in Historical Fiction, developed in partnership with The History Quill, walks you through building a research process that works alongside your writing rather than in place of it — at an absolute bargain price.

And don’t forget, if you’re an Inkwell member, you can submit your question here. I’m waiting to hear from you!

Today’s question comes from Laura, who wanted a pep talk on getting back into a regular writing routine after a period of not writing much and a real dip in confidence.

I think this is something every writer hits at some point, and it’s worth exploring properly, because starting again after a break almost always feels harder than it should. There’s no magic switch that takes you from not writing to back in it, but there are real, practical things that help.

In this episode I cover:

* Why the reason you stopped writing matters, and why it’s worth being honest with yourself about that before you try to push forward

* Creative resistance, and why it gets louder the longer you’ve been away from the page

* The neuroscience of writing as a muscle, and why the ability doesn’t disappear, but the ease does

* Reconnecting with your project before diving back into the detail

* The tools that actually help: accountability, talking about your project, diarising your time, and — above all — bringing playfulness back to the page

And if any of this resonates — especially the bit about accountability and just having somewhere to show up and write — that’s exactly what our weekly Coffee & Co-writing sessions inside The Inkwell are for. Find out more here.

And forget, if you’re an Inkwell member, you can submit your question for me to answer. I’m waiting to hear from you!

This episode’s question comes from an anonymous Inkwell member. Anonymous says: I want to include milestones in my story that are huge for a disabled person but seem mundane for non disabled people, without the story itself being mundane. Any tips?

I think this isn’t a problem – it’s one of the most powerful elements in fiction. The gap between how something looks from the outside and what it means on the inside is exactly what makes great character writing. Because ultimately, the techniques for making ordinary moments land with real weight aren’t special techniques for writing disability – they’re the fundamentals of good character writing.

In this episode I cover:

* Why character investment is everything

* How point of view shapes the reader’s experience of key moments

* Using embodied sensory detail to put readers inside the experience

* Free indirect style and psychic distance for close interiority

* Why over-explaining kills a scene

* Using contrast and other characters’ reactions to illuminate your protagonist

And if you’d like more writing craft advice like this, check out my course Getting Started in Historical Fiction. This course is developed in partnership with The History Quill with historical fiction in mind, but the writing advice applies across genres – it’s the best of my teaching all in one place, for an absolutely bargain price.

https://katherineclements.co.uk/getstarted

And don’t forget, if you’re an Inkwell member, you can submit your question for the podcast here:

This episode’s question comes from Mellany. Mellany is preparing to submit her novel to literary agents and she asks: How important is it to explain why I’ve chosen a particular agent in my submission letter? I spend hours researching and end up using a quote from their profile. How much time should you spend on it? Can you just let your writing speak for itself? And are there ways to be more creative about it?

At the heart of this is something I’m sure every querying author recognises. If the quality of the book – and the writing – is the most important thing, why do we have to spend so much time crafting perfect pitches and synopses, finding comparison titles and honing our author bio. Then tailoring every single submission too. Shouldn’t the writing speak for itself?

Listen for my answer.

Notes:

The post I mention about the query trenches is here: https://katherineclements.substack.com/p/the-query-trenches-an-honest-update

You can find an article about everything I did to prepare for submissions here: https://katherineclements.substack.com/p/everything-im-doing-to-find-a-new

Submit your question here: https://katherineclements.substack.com/survey/7183013

Explore The Inkwell: Coaching & Community for Ambitious Authors: https://katherineclements.substack.com/

Background artwork: Bianca Van Dijk from Pixabay

I'm Katherine Clements. I'm an author, a writing coach, and the person behind The Inkwell writers’ community hosted on Substack. Each episode I answer a question from an Inkwell member about writing, publishing and creating a happy, sustainable writing life.

Today’s question comes from Claire Randall. Claire asks: Are writing groups helpful or a distraction from the real work?

Listen for pros and cons, what to consider when joining a writing group and how to find the right one for you.

Got a question for me?

Submit your question here: https://katherineclements.substack.com/survey/7183013

Explore The Inkwell: Coaching & Community for Ambitious Authors: https://katherineclements.substack.com/

Find out more about me, my books and my work as a writing coach: https://katherineclements.co.uk/

Background artwork: Bianca Van Dijk from Pixabay

Welcome to the first episode of The Inkwell Podcast!

I'm Katherine Clements. I'm an author, a writing coach, and the person behind The Inkwell writers community hosted on Substack.

For some time now been looking for an easy way to answer your writing questions in a format that doesn’t require you showing up to a live session or posting in comments. The Inkwell Podcast is my solution.

So, here’s how this works. For now, you can listen to episodes for free, but paid members of The Inkwell can submit a question — about writing craft, creative blocks, the publishing world, or anything else that’s on your mind.

I’ll pick one and spend a few minutes talking through my response here. I’ll think it through with you, the way I would in a coaching session. You’ll get short, personalised coaching from me, delivered straight to your inbox. You’ll need to include your name, email address and the date so I can verify your membership, but you can stay anonymous in my answer if you prefer.

And soon you’ll be able to listen through your usual podcast app, too!

I hope you’ll enjoy this new experiment. Send me your questions. I’m all ears!

Submit your question here: https://katherineclements.substack.com/survey/7183013

Explore The Inkwell: Coaching & Community for Ambitious Authors: https://katherineclements.substack.com/

Background artwork: Bianca Van Dijk from Pixabay