For this Writers at Work interview, we asked historical fiction author – and historian – Rebecca Thomas where it all started (and restarted!), and which essential reading shaped her writing life.

Tell us about your writing life. When did it start? What does it look like now?

Writing was my primary (perhaps only!) hobby when I was younger. I remember writing my first novel when I was about nine or ten: a Star Wars spin-off story written in a small, grey, lined lesson book. I then went on to write a fantasy trilogy when I was a teenager, which came to around 600,000 words in total! I’ve still got the notebooks filled with annotations and timelines and maps. I stopped writing when I went to university to study history, perhaps because there was so much else going on. Looking back, I’m amazed by how quickly I fell out of doing something that had been so central to my life up to that point.

I only got back into writing in 2019, after finishing my PhD and starting a research job at Bangor University. Once I started again, I remembered how much I love writing, and how beneficial it is to my mental health. Rather than returning to fantasy, I began to experiment with historical fiction – which was a way of combining my academic work with creative writing. This eventually culminated in my first novel for young adults Dan Gysgod y Frenhines, which I was lucky enough to find a publisher for in 2022 (Gwasg Carreg Gwalch). Since then, I’ve continued to write historical fiction and historical fantasy for young adults but have also recently published my first novel for adults, Y Tŵr (Sebra).

What kind of writing excites you most?

I’ve always loved reading fantasy (the longer the series the better!) and The Name of the Wind is currently my favourite fantasy novel. But I’ve recently found myself more and more drawn to essays. I enjoy reading essays that combine academic and creative practice, and especially essays that challenge my preconceptions about what seem to be familiar topics. The literary magazine O’r Pedwar Gwynt is a treasure trove of essays like this, and I’m always excited when it arrives in the post. I’ve also recently enjoyed Angharad Price’s collection of essays, Ymbapuroli, and Jasmine Donahaye’s Birdsplaining.

“It took me a while to learn to be kind to myself and to appreciate the value of writing simply for myself, without fixating on the output and its intended audience. I’ve learnt a lot from projects that will never see the light of day.”

What are you working on right now?

I am currently working on a Welsh allegorical novel for adults which uses a medieval Welsh legend to reflect on the climate crisis. The novel is set in the world of the Second Branch of the Mabinogi (the tale of Branwen daughter of Llŷr) and combines fantasy with contemporary issues.

Where do you write?

I do write quite a bit at home, but I find that I write best when I’m somewhere with some background noise – ideally with a cup of coffee. There’s a café and wine bar around the corner from where I live where I like to go for thinking, reading and writing time.

When do you write?

I don’t have a set schedule for writing. I work full time as a lecturer in medieval history at Cardiff University, and so I tend to fit writing in around my day job – mostly during evenings and at weekends. I’ve experimented in the past with having a set schedule where I write for half an hour in the morning or before bed, but it just doesn’t work for me. I write whenever I can – which isn’t as often as I’d like!

And… Why do you write?

When I re-started writing in 2019, I wrote because I enjoyed it and because I saw the benefits for my mental health. I enjoyed creating new characters and immersing myself in their worlds at every possible opportunity. This is still true, but since then I’ve also grown more confident in using my writing to offer a perspective on issues that I feel strongly about. This started with my essay ‘Cribo’r Dragon’s Back’, which reflected on the erosion of Welsh place-names and was published in O’r Pedwar Gwynt in 2021. Since then I’ve continued to write essays, but have also most recently published a novel (Y Tŵr) exploring the state of higher education in Wales and challenging especially the destruction of the Humanities at Welsh universities.

Is there a book or author that has influenced you?

The literary magazine O’r Pedwar Gwynt has had a huge influence on my development as an author. It introduces you to a great variety of different styles and enables you to reflect on your own voice and what you’d like to use it for. It’s also a space that’s so welcoming for new authors.

Tell us about something you are really proud of.

My first novel for adults, Y Tŵr, which was published by Sebra earlier this spring. It’s a dystopian campus novel which reflects on the state of the higher education sector in Wales – and its possible future. As a lecturer at a Welsh university, this was a challenging novel to write, especially in the current climate. For the same reasons, it was also a hugely important project. I hope that Y Tŵr raises awareness of the threat to the Humanities at our universities, and the urgent importance of collective action.

What’s the best advice you’ve been given as a writer developing your practice?

It sounds so obvious, but to read and write as much as possible. I spend a lot of time writing, but, fitting writing in around my day job, every moment feels precious. It took me a while to learn to be kind to myself and to appreciate the value of writing simply for myself, without fixating on the output and its intended audience. I’ve learnt a lot from projects that will never see the light of day.

There are so many ways to have a creative career. What would life as a ‘working’ writer look like for you?

A bit chaotic! I’d like to have more time to write, but I’m also lucky that my job gives me the flexibility to spend more time writing, especially in the summer months. I’ve also developed a strand to my work as a historian that allows me to incorporate creative practice into my job. Recently, I’ve been doing creative history workshops with schools, which involves teaching pupils about local history through co-creating stories.  

Writers at Work is a creative development programme for Welsh writers at Hay Festival, with the support of Literature Wales and Folding Rock, funded by Arts Council of Wales.

Offering a fully-programmed ten days of creative development opportunities, Hay Festival Writers at Work allows the selected writers to engage in Festival events, attend workshops with publishers, agents and, crucially, with established international artists.

Check out some of our recommended events for this year’s Hay Festival here, including showcase readings from the 2025 Writers at Work cohort.