Ros Schwartz speaks with Ann Morgan about translating classic literature, learning to ventriloquise other writers, the importance of leaving some words untranslated and the linguistic challenges of the front-loading washing machine.

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.

Lois Pryce highlights the potential perils of writing about real people in non-fiction and memoir, and shares the tactics a writer can employ to keep everyone happy, including themselves.

Rhiannon Tise shares her joy in creative collaboration, in her theatre work and particularly in radio drama.

Emma Darwin speaks with Ann Morgan about trying and failing to write a novel based around her talented ancestors, and how creative non-fiction provided a satisfying solution.

Emma Darwin speaks with Ann Morgan about learning to write novels by doing it, balancing research and storytelling and writing what you come to know as well as what you already understand.

In the first instalment of 'My Genre’s Status', we talk to writers who feel that the kind of writing they do tends to be looked down upon, and consider the factors that may contribute to certain fields being literature's poor relations.

Alice Albinia speaks with Ann Morgan about travelling alone through Pakistan, prophetesses who can control the weather, the fact that Westminster used to be an island and female solidarity.

Laura Barnett speaks with Ann Morgan about capturing moments on the page, using details to create worlds, encountering sexism in the comments section and holding onto the book you want to write.

Maggie Butt (also published as Maggie Brookes) speaks with Ann Morgan about the transition from being a published poet to an internationally published novelist, the resilience writing requires and the challenge of choosing a pen name.

Lydia Syson reflects on the particular kinds of truth that fiction can reveal, considers the radical history of her maternal forebears, and puts the case for novel-reading as an essential element of historical research in ‘The Evidence of Fiction’.