For this episode, we speak to the wonderful Kirsty Logan. Kirsty is completely devoted to books: she is the award-winning author of several novels, including The Gloaming and The Gracekeepers, and short story collections including A Portable Shelter and The Rental Heart & Other Fairytales. She recently wrote the Audible Original The Sound at the End, an Arctic ghost story. She’s also a book reviewer, editor and mentor.

Kirsty’s new novel, Now She is Witch, came out this month. It is a medieval witch revenge story unlike any other. We discuss the book as well as aspects of craft, including character, theme, structure, research, routine and inspiration.

We talk about how to build complex characters within fairy tales, the difference between historical fiction and Medievalism and how witch stories reflect our feelings of being under threat in our world.

We talk about identity, revenge and research beyond the internet. Kirsty also starts our conversation with a reading - a poem she wrote during a writing residency.

National Centre for Writing’s Rebecca DeWald talks to translator Clare Richards. Rebecca is our Emerging Translator Mentorships Programme Manager and Clare is a previous mentee, who was mentored by Anton Hur.

Clare is a translator of Korean, but has a passion for the more challenging scripts such as Japanese, as she explains in their conversation. As a neurodivergent person, Clare is perfectly placed to reflect on our ablist workplaces and the male-skewed view of autism - and she also describes how learning new languages can help change the way we think and communicate.

Clare really found her calling in literary translation allowing her to build a way of working that suits her skills and preferences. She has also set up a Discord channel for D-deaf, disabled and neurodivergent people and you can find her on Twitter @clarehannahmary

Clare is just one of our Emerging Translator mentees. The scheme itself matches experienced translators with emerging translators for a six-month period. During this time they work on practical translation projects together and learn about the ins and outs of professionalizing as a literary translator. You can find out more about the scheme on our website.

In this episode, we speak to novelist and NCW tutor Megan Bradbury, who gives us a wealth of great advice to help you build your writing routine. We cover a lot of ground in this discussion, the focus of which is removing mental, physical and even temporal blocks to get you writing - from tackling your own avoidance excuses to noise-cancelling headphones.

Many of you will already know Megan from the podcast, and it was a pleasure to welcome her back. Megan is a long-time friend of the writing centre having won a place on Escalator - our talent development programme. Megan also won a ‘Grant for the Arts’ to help fund the completion of her first novel, Everyone is Watching.

Megan is also one of our online course tutors. What online courses, I hear you say? Well, the National Centre for Writing has a variety of online learning activities from courses to mentorship sessions. Head to our website to browse free short courses, in-person classes and workshops, and our much-loved 12 and 18-week tutored online courses. These courses have been designed specifically to get you writing.

https://nationalcentreforwriting.org.uk/support-for-writers/

This episode is a Writing Life special, featuring an hour of new writing read by the writers on this year’s National Centre for Writing Escalator programme - recorded earlier this year at the showcase event, here at Dragon Hall.  

• Melody Bowles

Escalator is our talent development programme. And each year, we look for ambitious, challenging, unconventional and affecting new voices in fiction writing from the East of England. The region is made up of a diverse society of people, and supporting writers who are under-represented on UK bookshelves has become a core objective of the project. 

The programme has been running since 2004 and includes eight months of mentoring, training, guidance and networking for participants. To date we’ve supported more than 130 writers, many of whom have gone on to sign with agents, publish and win awards and critical recognition for their novels and short stories.

We had a fantastic group of writers in 2022 and we hosted them here for the annual Escalator Showcase event where they all read from their work. This is the audio from that event.

https://nationalcentreforwriting.org.uk/escalator/

In this episode: How to grip your readers, with crime and noir writer Julia Crouch.

Julia is a crime and noir novelist so she really knows how to grip readers, and this episode has dozens of great tips for writers of all genres. 

Julia explains how characters and their development can grip readers; she explains how we can build narrative tension; and how conflict is a key driver of a reader’s attention. 

We also discuss the role of dead bodies, how to create and use twists as well as lots of great technical tips on how to sow seeds of intrigue.

Julia Crouch - the queen of domestic noir - has written seven novels, including Cuckoo, The Long Fall, her new novel The Daughters, and Tarnished.

Julia is also the tutor for our Start Writing Crime Fiction course, which starts in January. So, if you want to kickstart your crime novel, why not head to the website to explore the course modules?

In this episode, Isabelle King speaks to our recent writer-in-residence, Els Beerten. Els is an award-winning Belgian writer, and, in this wide-reaching conversation, she discusses how she develops characters as well as uses the senses to bring places and people to life.

Els is part of our residency programme in which writers and translators from around the world stay in our cottage, here at Dragon Hall - or work remotely on a virtual residence.

Isabelle King writes historical fiction and works in museums in Norfolk. Her work focuses on helping communities to tell their stories inspired by local history.

This month, we explore the short story: what makes a great short story and how the format differs from longer forms such as the novel. Lots of writers and teachers extol the virtues of short stories as a training ground for novels, and while this might be true, short stories are a great medium in their own right - doing many things that novels can’t. 

To help us delve into this topic, we spoke to writer and teacher Jenn Ashworth. Jenn is probably best known for her novels, which include A Kind Of Intimacy, Cold Light and Notes Made While Falling - and her most recent novel, Ghosted. But, as you will hear, Jenn is also a writer and lover of short stories - including Misummer Eve, which we discuss in this episode.

Incidentally, if you’d like to read Midsummer Eve you will find it in the collection of the same name, published by Black Shuck Books. Head to blackshuckbooks.co.uk/midsummer-eve and you can buy the paperback for £12 or an ebook for £2.

How to write about love in its various forms with Maddie Mortimer. 

Maddie is the author of Maps Of Our Spectacular Bodies which won her a 2022 Desmond Elliott Prize. 

The first part of our conversation was about her Desmond Elliott Prize win, but we soon started talking about the novel, writing craft and writing love. This episode features the section of the conversation about writing love, from the intimate and tender to the physical and visceral, from the romantic to the familial. 

As part of the Early Career Awards, we regularly publish our free EC Packs - bundles of advice, interviews, audio and video to help writers tackle particular areas of writing. We have packs on Editing, Beginnings, Structure, Plot, World Building and lots more. Access them for free on our website. This podcast forms a part of our new Early Career Pack - on the subject of love. It includes exercises, articles and indeed, this episode of the Writing Life.

This episode is a Writing Life special to celebrate Noirwich, the 2022 Norwich Crime Writing Festival here in our fine city. The festival featured Ukrainian-born American and French artist and writer, Yelena Moskovich.

Yelena has written for Vogue, The Times Literary Supplement, Paris Review and many more. She has also just released her third novel, A Door Behind a Door, an exploration of the post-Soviet diaspora.

We invited our friend, creative writing tutor and the godmother of domestic noir, Julia Crouch whose 7th novel The Daughters came out earlier this year, to interview Yelena. Strap in for a lively discussion about routes to becoming a writer, identity as a writer, ownership of your art, reading, what is crime writing, ideas of Hell and much much more.

Image copyright Beth Moseley

This month, we discuss revision. To help us understand how, when and why writers should revise, rewrite and redraft our work, we speak to writer and NCW course tutor, Lynne Bryan. We discuss the importance of revising one’s work, how revision is different for different types writer, when to do what kind of revision, and the role of third-party feedback.

This is a great discussion for anyone doing creative writing.

Lynne received her MA in Creative Writing in 1985. Her first book - Envy At The Cheese Handout - was a collection of short stories back in 1995. Two novels, Gorgeous and Like Rabbits followed in 1999 and 2002.  She’s co-edited six anthologies of short prose, her work has been broadcast on Radio 4 and her story – ‘A Regular Thing’ – was made into an award-winning short film in Denmark. Needless to say, Lynne knows her stuff, so this is an invaluable discussion for anyone who writes.