We're still going with this Romantic Novelists' Association thing. Well, they did win University Challenge...

Now get this - Wendy Robertson's daughter doesn't think her mother has a sense of humour; a theory based in part on the fact that this author of 19 novels doesn't laugh at You've Been Framed. Kids, eh? Born in wartime and shuffled around the country as a child, Wendy toiled at her writing in the gaps between teaching stints. Success first came in 1972 with the children's novella Theft, but it was the full-length work Lizza in 1987 that began a confident stride into novelism. It could all be the makings of one of the 'saga' books that Wendy's now famous for.

While 19th and early-20th century triumph-over-adversity tales are a well-ploughed furrow, Wendy isn't just churning out latter-day Scarlet O'Haras and Emma Hartes. Her inspiration comes instead from diverse sources; art, history, even tales from her own family, and her passion for writing has undoubtedly contributed to her prolific output - not only the aforementioned novels (which are now coming out at a rate of one a year), but also poems, articles and courses on creative writing which bring Wendy back to her teaching roots.

We spent some time in the virtual company of this "slightly bilious Queen Victoria" (So says that daughter. Weren't me, miss). On her website, Wendy describes this experience as challenging, and my questions 'deceptively straightforward'. Some people give me too much credit.

Great Writing: What inspires you to write?

Wendy Robertson: My inspiration comes from many things:

• my own life as I have experienced it and continue to experience it, and my observation of the oddness and quirkiness of individuals: the way they refuse to fit into stereotype
• the compelling atmosphere of places which reflect back their history unasked: ghosts (such as in my novel A Woman Scorned)
• my omnivorous reading, especially naked history - diaries, notebooks, maps, lists, objects touched by the people from a certain time.(particularly evidenced in Long Journey Home and Honesty's Daughter)
• Paintings and drawings - as my mother used to say, every picture tells a story. (see Where Hope Lives)
• Stories told within my family (shown in Riches of the Earth and Land of My Possession)

As well as this, that every story has its own unique inspiration. I publish a novel each year and for me each novel has to be different.

GW: Your work tends to blend historical and romantic themes. What is it about romantic stories that appeals to readers?

WR: I think, in general terms, the appeal of stories which have romance at heart reflects the very fundamental fact that the majority of  keen and continuing readers readers are women, and many women relish stories that reflect their preoccupation of finding a life partner of the most ideal type.This may seem escapist and wish-fulfilling to some, but it is very sane. Civilised society has survived and thrived on this ideal of overcoming difficulty and achieving some long-lasting domestic harmony, even though real life falls disappointingly short of this ideal. We live in hope and this is how we survive.Women are forced to be optimists to keep going.

In my novels romance is a significant element, rather than the driving force. (I would describe that as a quirky combination of personality and history). However without that optimistic, romantic element my stories would lack this central reality of all of our lives - the need for passion, affection, love, and unique connection with another human being to remind us we are not alone in a challenging world.

GW: How do you manage to stay fresh in a genre sometimes considered formulaic?

WR: Writing to a rigid and limiting formula would be just too boring and I must say my publishers have never demanded this of me. I write the novels I want to write. This being said I am fortunate in that I write within the very broad field which is labelled saga and that broad field does reflect the very wide range of my interests and pre-occupations. I use the definition of Saga which is 'narratives of people in history' and this seems the opposite of formulaic to me.

GW: What is your writing routine? Are you disciplined in your work? How do you prevent 'real life' from intruding?

WR: Last question first: if one's subject matter is 'real life' then real life cannot really be intrusive. It's all good copy...BUT I do think that as a writer you have to keep 'real life' in its place. It is a matter of priority. For me writing comes a close second to the safety of my beloved ones. After that comes research. Then comes reading.  Then probably meeting interesting people, known and unknown. The 'real life' of  dusting and cooking are way down the list. I used the first money I ever earned from money to pay for domestic help and continue to do so. It is the best money a woman writer can spend, in my view. It's important not to feel guilty that we are not meeting some (formulaic? rigid?) ideal of domestic competence.

On routines and discipline - well I publish a 120,000 word novel each year with Headline, meeting a November 30th deadline (created by me). To do this I created artificial deadlines through the year 'Halfway by June/ Full final draft by September etc.' It doesn't work rigidly but it keeps me motivated and keeps me going. The actual writing is a bit like a waltz: Slow, slow, quick quick slow (um...I think that's a foxtrot - Ed). The first stage, writing sketches, researching, thinking through characters writing tentative chapters can be very slow and challenging. Then the tempo changes and I am away, writing quite quickly, the chapters flowing. Then I may come to a virtual stop (I don't believe in 'writer's block'). That's the time for reviewing so far, further research, lots of scribbling and graphic images, balloons, meandering timelines, absorbing the implications of the story I have written so far. Then I am away again into that exciting quick/quick phase. This process may happen a dozen times in the writing of a book. But out of this process comes a novel which ( fingers always crossed...) works.

I suppose this makes writing a novel a bit of a dance. So it is. Quite a good romantic image don't you think?

GW: Tell us the story of how you got your first novel published.

WR: I always wrote, did some short stories, a bit of journalism, but made my living teaching. Then one summer vacation I wrote this longer story (60,000 words) based on an event in my mother's life when she was fourteen, called Lizza. I liked the novels then published by Andre Deutch so I sent it to them. I had a very nice letter back from them saying how much they liked it, but, as a 'young adult' novel it was too long. Could I cut it by 20,000 words? Well I had never heard of 'young adult novels', and I (in my naivety) thought no way would I cut my lovely story. So I sent it  - still  uncut - to Hodder and Stoughton who wrote back to say they really liked it and would publish it - as a 'young adult' novel. Of course I was thrilled, amazed, dumbfounded, delighted. They published two further 'Young Adult' novels and then, feeling the need for a bigger canvas I wrote an adult novel  - Riches of the Earth. By that time I had an agent Juliet Burton, then at Laurence Pollinger, and she offered it to Headline, and they have published all my historical novels ever since. They are a great publisher, in my view.

GW: Are there any story themes or styles that appear more commercial or easier to sell to a publisher?

WR: I usually say that second guessing the market is a mistake as, by the time we think of it, it has already happened. A writer should write about what preoccupies and entrances her, and write it to the highest level of creative competence in her own unique way. (In this crowded market, originality is hard come by - there are many well written derivative manuscripts out there...)  With luck, the market will come to her.  This being said, I spy a good deal of interest in the Sixties and Seventies as a quirky historical time - if that moves you, then write!

GW: Does writing novels pay the bills? What would you say to someone who intends to quit their job and write full-time?

WR: I really wouldn't take the responsibility to recommend someone give up their job. I would say don't quit the job if it keeps you sharp, inspired and in the world - all this could be inspirational for the writing. Finding the time to write is often not a matter of 'time' but priorities. Block time in your life (whole weekends, holidays, which you dedicate to your writing). I published my first four novels working in this way. For the last fifteen or so years my writing has supported me - but still I keep in crucial touch with the world out there by doing writing-associated work in the community, workshops, conferences etc. I have a continuing commitment to work in prisons, have been a writer in residence in a prison for three years. All this keeps me in touch with the keen contemporary edge of life which sharpens my writing and generates change so I don't 'rest on my laurels'.

GW: How important is getting an agent?

WR: I sold my first three novels myself, had a poor agent, and then found my present agent who is very supportive and helpful and a good friend.  Even so, I work directly with my publishers on all creative elements of the work I do.

I know of agents who are very directive and involved with the writing of the novel. I would be uncomfortable with this. Although the conventional wisdom now is to work only through agents I still think it may be possible to work directly with the publishers. Try both. I would say go for larger agencies where there are more bodies to do the initial trawling.

GW: How important is self-publicity?

WR: I write articles about what I do and each book has a really good launch which gets publicity. My new novel No Rest for the Wicked - about a travelling music hall troupe in 1923 - is launched on September 8 and will be launched in my local Town Hall Theatre with a music hall evening, complete with ballad singer, chairman and pianist whose own mother  used to play for the silent movies. This will be a fun event in itself BUT will generate certainly regional publicity.

I think the key to self-publicity is to build up general interest in your work and give good value to the people and the journalists so it's not do-come-and-see-me-posing-around. A good relationship with the local literary networks is a help.

GW: What are your do's and don'ts in writing romance?

WR: Bathe yourself in the time and the context of the story. Identify with your characters. Be original (even with in an established genre). Make the greatest use of your senses in the writing, but avoid gynocology. Write with relish and sympathy and a twinkle in your eye.

GW: What's the most important thing you've learned about writing for publication?

WR: Love your writing. It must not be a chore. Be enthusiastic. Be original. Be organised. Set your own deadlines.

Learn from the professionals - i.e. published writers with a track record, editors you want to work with or are working with. Avoid the 'honest' opinions of your nearest and dearest.  And write, write, write rather than sitting and thinking about writing, talking or emailing about writing - all displacement exercises in a way.

But, as I say, love your writing. I do and it has kept me out there...

For more information about Wendy's novels, and some very insightful articles on writing, visit her website. If you'd like to go to the music hall evening that launches No Rest for the Wicked, then pop along to the Bishop Auckland Town Hall on September 8th. More about that on Wendy's site too.

For more information about the Romantic Novelists' Association, and for details of upcoming events (including the Commercial Women's Fiction workshop in October) visit the RNA website.