Lissa Oliver
With difficulty! I believe coming to journalism from fiction was a huge asset, because I think in story format, I see the hook and instinctively fit what I hear into the classic Beginning, Middle and End of the story-telling format, be it an interview or technical reference. But when you have spent long hours writing interviews or works of reference, or event reports, the craft may be the same, but it’s hard to get back into an imaginary world once more. I have to read my novel-in-progress from page one up to where I left off in order to become immersed again, which can take all the time I’d allotted to writing! Non-fiction has a stiffer delivery than fiction, so it takes some loosening up to switch back to fiction.
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Gabriel Woods
asked
Lissa Oliver:
You have amassed a huge amount of experience in the horse racing industry that influenced what you wrote for example Sainte Bastian. You have also delved into the politics of ancient Rome from which your book Nero was published. Was it difficult for you to switch from writing about Nero and then to the horse racing world? How did you manage to develop your writing process to include both influences?
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