Tarot Interviews

The Queen of Words: Chloe De Lullington on Cats and Cacoethes

• Finbarre Snarey | Tarot Interviews • Season 1 • Episode 12

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Chloe De Lullington is a writer, chronic overthinker, and queen of the chaotic coming-of-age narrative. Her debut novel Cacoethes (Northodox Press, June 2025) is a bold, funny, and unflinching exploration of queer longing, bad decisions, and the mess of early adulthood.

Chloe’s background spans screenwriting and fiction. Whether she’s writing in silence or swapping blurbs in the wild world of indie lit, her work pulses with honesty, humour, and a refusal to tidy up the mess too neatly.

Order Cacoethes now at Northodox Press

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Disclaimer: The Tarot Interviews podcast is intended for entertainment purposes only. The views and opinions expressed by the hosts and guests are their own and do not constitute professional, legal, financial, medical, or psychological advice. Listeners are encouraged to seek guidance from qualified professionals where appropriate.

Amelia Lawn:

(sings) Tarot Interviews.

Finbarre Snarey:

Welcome to Tarot Interviews. Today's guest is , a writer and content specialist whose work includes screenwriting and fiction. Chloe's debut novel, cacowethes, is out in June 2025 from Northodox Press. It's a bold, funny and personal coming-of-age story centred on a young woman navigating dating, self-worth and the chaos of her early twenties. Will Chloe draw from the suit of the cups today the suit of emotion, love and relationships? It would be fitting. In this episode we'll talk about her path to fiction, the themes at the heart of Cacowethes and how she approaches storytelling in all of its forms. Let's find out which card she gets. Hi, chloe, to Lellington. It's an absolute pleasure to meet you at last.

Chloe De Lullington:

Lovely to meet you. I have had a nightmare of a week and I've been looking forward to this. So thank you very much for having me. If you'll indulge me, please tell me about the nightmare, go on. Oh, so we are my partner and I live in a do-a-rupper, which we bought as a project. But the thing about a do-a-rupper is you then have to do it up and if you make DIY mistakes, that's kind of on you. If you hire professionals to come in and they make mistakes, that are then costing you quite a lot to fix, that's a different story. So that's where we are at the moment. So it's been a bit of an eventful week.

Finbarre Snarey:

What kind of do-it-up are we talking about? We're looking at a farmhouse, we're looking at a bomb shelter.

Chloe De Lullington:

It is a lovely little Victorian railway workers' cottage. It's very fun but it's quite stuck in the 90s design-wise Hasn't really been touched since then.

Finbarre Snarey:

Which, as we know from the Matrix, is the pinnacle of civilisation. Yes, absolutely yes, sorry, from my age I have exceptional fondness for the 90s. Wonderful, mainly, mainly the partying and the blackouts that occurred afterwards. I have to ask what was it that tickled your inspiration to think I know what? I'm going to talk to this random guy with some tarot cards on a Sunday.

Chloe De Lullington:

I just love the format of this podcast. I didn't know it existed and then I saw it. I thought brilliant. And so I am not massively familiar with tarot as well, so my exposure to it mainly comes from the TikTok tarot readers as all good things. Very influenced by that, so I started seeing them pop up on my tiktok fyp and it just seemed quite interesting. So it's not something I'm massively familiar with at all, um, but what a great premise for a, for an interview and for a podcast claudia luddington, here are your cards, just here.

Finbarre Snarey:

And of course this is going to be audio only, so people won't be able to see the lovely cards I have in my hands. But I will trust you to describe what jumps out on each card to you, and it doesn't matter. It could be as mundane as you like, it could be oh, that's a nice color. Or it could be a specific detail. It could be something like a serpent coiled around a spoke. So I'll start shuffling.

Chloe De Lullington:

Here we go oh, we have ourselves the King of Wands there, looking very regal, lovely, lovely long sage green cape, which is very much my color of the moment at the moment, um, so I'm enjoying the stylistic choices it's having a bit of a renaissance, isn't it?

Chloe De Lullington:

it is. I fear it's becoming a little bit of millennial gray. That was the, that was the fashion choice before in people's houses, and now it's kind of um, become sage green, and I I do love sage green, but I fear it might age quite quickly. If it's kind of become sage green and I do love sage green, but I fear it might age quite quickly If it's very in now it will be very out in a year.

Finbarre Snarey:

What vibes are you getting from the card?

Chloe De Lullington:

ibes quite serene, isn't he? He's a thoughtful young man. He looks quite young actually. He's not giving kind of aged king, he's giving quite youthful sort of Prince Hal Shakespearean. Young king vibes there.

Finbarre Snarey:

Okay, so we have hot king. I like this.

Chloe De Lullington:

Yeah, that's what we're going for. That's the route this podcast has taken. That's fine.

Finbarre Snarey:

Let's go with that. Yeah, I'm doing this with my hand, like maybe, maybe. Yeah, he's a good eight, let's say Just to let you know. The classic interpretation of the card is someone who's purposeful, imaginative, ready to tell stories, provoke and entertain, someone who doesn't wait for permission. My question to you I quite like that.

Chloe De Lullington:

Yeah, all of those are good things when you've got a book coming out. Those are things you kind of want to hear, so from this, I'll ask you how do you take charge of your creative vision and bring the projects that you work on to fruition?

Finbarre Snarey:

I think, it really helps to have a very obsessive personality.

Chloe De Lullington:

Sorry, obsessive. Obsessive, yeah, very, very fixated and very I guess self-disciplined would be a nicer way of phrasing it but I, so I have a day job which is not writing, so all of my creative efforts have to happen kind of from 5 30 onwards, so it's kind of the the five to nine, after the nine to five, and I think it takes a lot of. Nobody else is making you do this, so you have to if you're not going to back yourself, nobody is going to um, which means your projects won't happen, your writing won't happen, it won't see the light of day, like, and once you've finished it, it won't see the light of day if you don't put it out there as well, which is something that it took me quite a long time to. I kind of I knew it theoretically, but it took me a long time to put it into practice. It was kind of like well, why is nothing happening? I've written this book and then you look at your emails and you've not sent it to anyone and it's kind of this is why you're putting blocks in your own way, and it took me about 10 years from starting writing Kakarithis to publishing Kakarithis.

Chloe De Lullington:

I think it's. Yeah, I started writing it when I was 19 and it's coming out a month before my 30th birthday, so it's been a long slog and I think every time it's been spurts of creativity and it's been spurts of being able to focus on it. Around stuff that's happening in life, a lot changes in 10 years. You kind of you're not the same person that you were. Um, circumstances, material circumstances change a lot. Relationship circumstances change a lot. Where you are in the world physically changes a lot as well, and you kind of have to maintain the spark isn't enough. You kind of have to keep it simmering on a low heat that entire time until somebody comes along and lets you actually stoke it into a fire that they're going to help you bring to the world, if that makes sense.

Finbarre Snarey:

It does out of interest the characters and the experiences within the book. Are these almost crystallized into your past, assuming that there are any resemblances to either yourself or people that you know, to characters within the story, or is it something that has grown and aged with you?

Chloe De Lullington:

s That is a very good question. I thought about this a lot actually, because what I didn't want to do is come back to it in the edit, knowing that I'd signed this contract for it, come back to it in the edit and change everything to make it better. I didn't want to be a 30 year old writing about a 19 year old, because the character is 18 19 at the start of the book and then it follows her, the main character.

Chloe De Lullington:

That is a little bit it is exactly, and I did not want that to happen, because I've always been a little bit of an old soul anyway and I think, like I kind of I say a lot about myself that I'm sort of like if an old man was a girl, kind of culturally. A lot of my cultural references are very much my dad's age and he's in his 70s now, so he's he's not. If I'm writing teenagers, I was never going to be necessarily a conventional teenager writing about teenagers even at the time. And you add 10 years onto that and it is very much. How do you do fellow kids to that? And it is very much. How do you do fellow kids? So I haven't done too much to it because I wanted the essence of it those characters, to be very much as they were when they were kind of conceptualized and as they were when they were written, and it's very much rooted in the specific time period as well. I think it's it's very much around the 2017 mark, like 2014 to 2017, and on a really basic level, that's when I was at university. So these are.

Chloe De Lullington:

There were kind of memes in there that I remember from when I was at university and if I was going to make this an evergreen young person coming of age story. I would have taken those straight out because it does age the piece, but I think that's also its strength. I don't think it's meant to be. I think the experience of a young person going to university now and making bad decisions would look very different, even on just a really basic level post-covid it's strength. I don't think it's meant to be. I think the experience of a young person going to university now and making bad decisions would look very different, even on just a really basic level. Post-covid. People's relationships are different. The generation after me aren't going out drinking as much as well, and you can put down a lot of bad decisions to being drunk because that's what everybody does, whereas when the youth culture kind of shifts more to sobriety, you can't really blame your bad decisions on that anymore. You just have to take ownership for them.

Finbarre Snarey:

I wish I could go into the bad decisions I made at university. My mother-in-law may be listening to this podcast, so I need to tread very carefully. But let me say that most of my bad decisions, as you rightly say, were alcohol-fueled or just that kind of rambunctiousness of being away from home for the first time and just feeling like you're invincible.

Chloe De Lullington:

But the that is exactly it. That is exactly the word. I think it's that kind of You're in a weird limbo as well, because if it's the first time that you've been away from home or treated even like a quasi-adult ever Nineteen, you do feel. Well, I certainly felt like I knew everything. And you look back and you think, oh, you were a child, what were you doing?

Finbarre Snarey:

I mean, my first step of exploring this invulnerability was I went shopping and this is what you do, and you can basically buy whatever you want, because you're an adult now. So I decided to buy this packet of scones and I sat down and I ate a packet of 10 scones like biscuits, one after the other, just because I could. There was no one there to say this is a bad idea, finn.

Chloe De Lullington:

That sounds like a great. Where were you buying packs of ten scones? I think I can only get them in six round here. That was the 90s for you. Clearly, Cost of living has hit hard. Some things are better left in the past, aren't they? It doesn't mean you regret them happening, but it's just you can't really repeat them and have the same sense of it being fun even.

Finbarre Snarey:

Yeah, and it sounds like there's so much wicked mischief threaded through this book.

Chloe De Lullington:

I hope so. Yeah, I think quite carefully about this as well, because there's so many. There are a lot of power imbalances in this book and there's a way that you can read it which is quite not po-faced, but quite like we need to protect young women, and we do, because obviously, you know, 19 year old girls are vulnerable and there's a lot of, there's a lot of age gap relationships in this book as well, and so they you know that's a tale as old as time and some of them are a lot better than others. Some of them are very more, a lot more obviously exploitative. Nobody's sleeping with their university professor, but it's kind of.

Chloe De Lullington:

There's not that power dynamic there, but there is certain other dynamics.

Chloe De Lullington:

There's some like money changes hands and people kind of it's very transactional and there is a way that I think you could read this book and go gosh, that's awful and it is, but also it's very funny and I think it's important that the I can say that because I was a 19 year old girl at the time and it was kind of everything that you did would be you do it for the story, you do it to impress other 19 year old girls, to make them think you were really cool and really funny and there is a way of looking at it which is hopefully it entertains people, hopefully it makes people laugh, but the situations that arise and the power imbalances that arise, they are kind of there is a way of telling this story which is very bleak, and there is a way of telling the story which is very bleak, and there is a way of telling the story, which is the one that I've gone for, which is gosh, that was funny, wasn't it? Let's not do it again, but it was funny.

Finbarre Snarey:

Yeah, and I think all of us who have gone away from home and who have lived those experiences and made those mistakes can read something like that and have a better connection to the character. If this person has made hot mess, disastrous decisions, either I'm going to go yeah, that was just like me. Or I can from an objective perspective, say, yeah, that was ridiculous. I'm glad that I never did that, but you still have that connection there. It's. It's a lot more authentic I hope so.

Chloe De Lullington:

Yeah, I, that's what people take from it. I think the hot mess, bad decisions could also have been the tagline for I think that's. That sums it up in one little sentence.

Finbarre Snarey:

Okay, right, next card.

Chloe De Lullington:

Oh, that's snazzy, isn't it? We've got The Chariot with two. Looks like sphinxes at the front there, A very ornate chariot there with somebody kind of speeding ahead, and I'm not quite sure what the chariot means, but it's intrigued me, this car, just from looking at it.

Finbarre Snarey:

Okay, what are the most prominent details?

Chloe De Lullington:

The Sphinx is at the front and then in the background. You've almost got is that kind of towers or buildings in the back. I'm not sure how much detail I can see those in.

Finbarre Snarey:

In terms of the colour, the framing. Does it feel like a positive card to you? Does it feel threatening? What are we getting from this?

Chloe De Lullington:

It's very central, isn't it? It's on a bright yellow background. It's very striking. There's a lot of high contrast in this. You've got the black and the white detailing at the front and the bright yellow at the back. There's a splash of blue in the middle there as well, kind of splashes of red around also. It's very vibrant.

Finbarre Snarey:

I'm trying to think of what it would be that that almost that, that rawness, that sort of vivacity that surge forwards. Yeah, it represents determination, willpower, triumph over obstacles and focused journeys. It can represent the balance between aggression and restraint. So can you describe a time where determination and focus have led you to achieve a significant milestone in your career?

Chloe De Lullington:

Yeah, I think it comes back to just I was talking a bit about having an obsessive personality and having to do. You have to be your own cheerleader, which kind of doesn't always come very naturally to me. I think this extends into this card, into this card, um. So I sent out this book. I can't remember how many years it was out with agents for. For a couple of years, three years maybe, and I had very nearly I decided to stop sending out to agents because I was getting nowhere. My rejection spreadsheet was just um, it was a graveyard, it was that many ghosts in it, and I submitted it to Northodox Press, the publisher that it is coming out with, almost just on a whim. I just thought this is they are open for submissions, they look great. I kind of I might have what they're looking for. I'm gonna give it a go and I'm gonna just give it my all, because at this point I've got nothing to lose. I think in the past I've maybe been either dumbing down in some of my query letters or some in. Sometimes, like, sometimes I've been over exuberant about it, like over forceful possibly, and I think I was trying to be the author that I thought that agent wanted, whereas with an orthodox there was almost nothing to lose, it was just they are an incredible indie press. I've written something that nobody else is really going near. I don't know if it is what they're looking for, but I think the best thing to do is just be very authentic and then also try not to care too much about it. And I remember getting the email.

Chloe De Lullington:

I was in a very boring panel. I was at the Edinburgh TV Festival because I also do screenwriting, I'm trying to get into kind of the screenwriting world as well and I was on a scheme that the Edinburgh TV Festival runs called the Network, which is amazing. It gets people from, like, young people there's not actually an age gap on this one, so it's people full stop from underrepresented backgrounds access to the TV industry industry, which is, as we all know, it's kind of a very closed shop. It's who you know, not what you know, unfortunately. And so I was there as an alumnus of the network and I was in this panel that I was really excited. I'm not going to say who it was, but it was a writer that I was really excited about and they were just saying the most boring things imaginable and I just thought this is really, really disappointing and I started going through my emails on my phone in the audience very discreetly and I got the email from Norco Docs Press saying we love it, and I really wanted to get up then and there and just like run out and phone my boyfriend and tell him. And obviously I couldn't. I had to then sit through the next half an hour of this extremely boring panel and I mean that was on me. I should have just sat there and listened and not checked my emails during the panel.

Chloe De Lullington:

But I remember it being such a milestone and it felt like the culmination of the last eight years, seven years and all those little moments of getting the energy to send it out and to put myself forward and, you know, just be out there in the world and be ready to be perceived. They'd all added up over a period of time and all of a sudden it had kind of happened and obviously it hadn't happened. The happening is, um, you know, the book hadn't even been edited, it didn't have a cover, it didn't have anything. It just had this acknowledgement, this email, this kind of yeah, acknowledgement that it existed and was good and somebody else liked it, and I think that was probably the best day of my life oh wow, how did you celebrate I can't remember.

Chloe De Lullington:

I think I did go out and I I phoned my boyfriend immediately as soon as I left the the auditorium. People were streaming past me and I said they're gonna publish it. And he went what? They're gonna publish it. And I think I said that probably about five or six more times. I think that was about as far as my command of language extended at that point and presumably your partner got the message absolutely.

Chloe De Lullington:

Yes, yeah, it was very enthusiastic, I think I came home and like jumped around the house for a few days as well. Just um, just the energy had to go somewhere. I was really. I've been saving up for this moment for years that's wonderful.

Finbarre Snarey:

I've got this vision of you, almost like stepping towards this, this rocket, and you've got this large fuse coming out the bottom, you've got the lighter in your hand and you know that the spark is about to just ignite your entire future, and I think that must be an amazing feeling to know that this is the first day it was Well, it is as well.

Chloe De Lullington:

Yeah, and it's got even more pronounced in the next two years since. So they announced two years in advance, a lot of publishers announced two years in advance, and so you have that moment of you can tell everyone as soon as the ink is dry on the contract, can tell everyone. But then you have to then maintain that something big is coming for the next couple of years as well. So there's been that's when all you do, all of the um behind the scenes work, and obviously the editing and the kind of putting together your, your marketing plan and everything, and now it's we're at the next stage of the big rocket going off, which is the book coming out into the world.

Finbarre Snarey:

So yes, I completely agree, fabulous so we did have a major arcana there. So I don't know if you're familiar with the difference between the minor and the major. The major arcana obviously all the the famous ones you know your lovers, your deaths, your hanged man and the fool, which is one of my favorite ones. And of course, you've got the minor arcana cards, which are more similar to playing cards. Uh, no less significant, but a lot of people will look at them and go what the hell does that mean? So I'm hoping we get one that's slightly more clear for you than maybe the chariot where you've got a pair of sphinxes with boobs, from what I can see.

Chloe De Lullington:

There is a lot going on in that card. Yeah, visually it's very maximalist, isn't it?

Finbarre Snarey:

It really is right, okay, so here we go and stop. Okay, this may look a little familiar.

Chloe De Lullington:

Oh, we've got. Is that the King of Wands? We've got there.

Finbarre Snarey:

No, this is the Queen of Wands.

Chloe De Lullington:

Oh, the Queen of Wands. I was going to say I think we've already had the King of Wands there. She is Excellent. She's very glamorous. Is that a little sunflower she's got growing out of her?

Finbarre Snarey:

Well, she's in her hand, possibly there, the sunflower, the staff and a kind of beautiful golden yellow flowing dress which I am coveting quite badly actually I have so many friends that are involved with tarot readings or tarot interpretation or witchy in some form or fashion, and this is always, always a favorite card, um, so I don't know if you can see that I mean you have the uh, peak cat lady. She is, you know, moisturized. She's in her lane.

Chloe De Lullington:

Everything is worth flourishing yeah, exactly, exactly, excellent, okay, I have, um, I have a black cat sat in my window. Right now, I have two cats, the black cat and the tabby, and the black cat is literally sat in the sun sunning himself, so I feel like that's something, isn't it?

Finbarre Snarey:

May I ask their names?

Chloe De Lullington:

Yeah, so the black cat is Bodhi and then the tabby cat is Doyle. So I don't know if you're familiar with, in the 70s or 80s there was a very blokey detective show called the Professionals, which I saw it through reruns on ITV4 because my dad would watch it and at the time I thought this is the most boring thing in the world. And then, during the pandemic, because I hadn't seen my parents for a couple of years, and the professionals started showing reruns on Amazon Prime and I started watching it and I got very, very attached to it. And then my partner and I adopted these kittens and we didn't like the names that they came with and so we were thinking of pair names that go together. And he said why don't we call them Bodie and Doyle, which are the characters from the Professionals? So we call them Bodie and Doyle, the Per-fessionals.

Chloe De Lullington:

Oh no which is her. Isn't that horrendous? But now when I think I know it's awful, isn't it? I made them an instagram and everything. Um, it was. It was a weird time. But now when I think bodie and doyle, I think my cats.

Finbarre Snarey:

I don't think um 1970s dad tv yeah, I've got, um, I've got three cats. I've got, uh, we've got bexley, who we've called bexley from red dwarf. There is a a character called jim Bexley, who we've called Bexley from Red Dwarf. There is a character called Jim Bexley Speed, who is Lister's son. Don't ask me how we got there, it's just one of those stories.

Chloe De Lullington:

I love that.

Finbarre Snarey:

We also have two other cats who came as a pair. One's called Beigli, which is Hungarian, I believe, for sweet roll or sweet. Oh nice, and Dios, which is Hungarian for walnut flavoured.

Chloe De Lullington:

That's nice, and diosh, which is hungarian for walnut flavored. That's very cute. You could open a patisserie with those two couldn't you?

Finbarre Snarey:

I'm saying what I think you could, but they'll probably end up sleeping on the shelves and getting fur in the pastries yeah, I mean my.

Chloe De Lullington:

My house is very much. There's carpet and then it's an extra layer and it's just cat fur. I'm fighting, losing battle with these two. Only one of them is long haired.

Finbarre Snarey:

I don't know what the other one's playing up, but there's cat hair everywhere yeah, that's my uh, my children's uh clothing drawer, like their school uniforms, is just mainly, mainly ginger at the moment I've been there.

Chloe De Lullington:

It's um black, black fur, tabby fur just everywhere, everywhere you look let's go back to the uh, the queen of wands.

Finbarre Snarey:

It's the card of. Let me just hold it back up so you have a visual reference there she is yeah. So the queen of wands thriving, thriving, sure. She's confident, charismatic, she's independent, she's an epitome of creative leadership. So someone who is passionate, socially magnetic, unafraid to take up space. So it's someone who is unapologetic, it is someone who is unapologetically themselves. So, queen of Wands would lead me to ask you who has most inspired you in the writing community.

Chloe De Lullington:

Oh, that's a very good question. So I don't have a somebody that I aspired to be like in well in the writing community or in general, and I think partly that's because so just to throw things back to when I was a child, we didn't really have like tv or modern day books or anything like. I grew up quite isolated and that makes you very, very independent, also makes you very weird, but it makes you very independent you are an old soul, aren't you?

Finbarre Snarey:

You're described a kind of 1930s upbringing, you?

Chloe De Lullington:

it's. It is very much. I mean, there was a lot of kind of religious stuff at play there as well. So it was, it was that. And then it was the fact that I was um, I was out of school for seven years because I was ill when I was a child. So I kind of grew up like almost like this tiny maiden aunt in the mid-2000s very much out of time, went back to school for my GCSEs and then had to sort of learn how to be a teenager and learn how to socialize with people. So it was a bit of a learning curve, but it has meant that there's not really. There are people that I admire, but there's not anybody that I've ever kind of pointed to and gone. I want to be like them.

Chloe De Lullington:

But since finding it's, it's kind of happened a bit backwards for me, because I think what you're supposed to do and what I should have done is you find your writing community first and you bed in with them and you share work with them and you kind of as a garden, you almost grow each other like you put down roots with them.

Chloe De Lullington:

You grow, you flourish, you see each other's successes. What happened for me is I refused to show anybody except the agents that I was sending this to this book for several years, then sent it to an orthodox press who accepted it, and now I'm realizing I'm going to have to read it out loud at events as well, which I was not prepared to do. When I wrote it it was very much written to be read in silence and laughed at. It wasn't written to be read out loud, and I've done that to myself. It's all self-inflicted. But since moving into the writing community a lot more, there's been people that I really admire, and a couple of them have agreed to do potential blurb quotes for the book as well, which is insane. Like you can just you can slide into people's dms, say I really liked your book, would you like to read mine? And they'll say yes, which is bonkers, hi, you're a writer.

Chloe De Lullington:

I'm a writer it is a bit like that. Yeah, it is, and I found that so strange. I think I got really like tingly hands the first time I sent a dm to somebody to ask them if they would like to read my book. It was like a writer that I admired. I got really kind of tingly and it was all very, oh, this is a really big deal, what if they don't like me? And then the response that they gave was so quick and so casual that I just thought this is actually really underwhelming in a really good way. It's very normal for them and I feel like I'm kind of part of the community and we do just swap book reviews and blurb quotes and things. Now, and it's amazing, and I've been asked to do one for somebody else as well, which was a really big milestone, but again, very casually delivered, the message was very, very chill and I was like, oh, but this is a really big deal for me because I've never been asked to do a blurb quote for anyone before. But, um, yeah, so there's there's, there's people now that I admire, but I don't think of them as being aspirational so much as just like kind of cool women doing cool writing things. If, if that makes sense, I think.

Chloe De Lullington:

Um, so Isabelle Kenyon, who runs Fly On The Wall Press. She's based in Manchester as well and we became friends through this book, through the kind of the publishing journey, even though it's not with her press and we've now we just go out for coffee and I think it's. It's a really nice position to be in because she's a novelist. She wrote the Dark Within Them, which is kind of incredible crime thriller set in a very religious community. It's really good. And she also runs her own publishers, like a small press that's won awards and she's always doing incredible things and it's been really helpful for me to see she almost represents the entire spectrum of publishing now because she is the writer, she also does all the marketing. She also kind of teaches people about publishing, the business of publishing. So I guess, distilled into one person, it would be her. But growing up and kind of writing the book, it was very much done. The growing up was done in isolation, the writing the book was done in isolation. It was very much a sort of solo endeavor.

Finbarre Snarey:

Chloe de Lullington. Thank you so much for your . What have you got planned for the rest of the day?

Chloe De Lullington:

That is a very good question. I've got two very sleepy cats around here and as soon as I finish this interview I guarantee they're going to wake up and want their dinner. So probably feeding the cats, going for a walk in the sunshine and then not thinking about the house renovations I've got to do next week.

Finbarre Snarey:

That was Honest, sharp and unafraid to write about vulnerability, connection and those messy truths in between. Her debut novel,, arrives June from Northodox Press. You can pre-order now via the link in our show notes. And thank you for listening to Tarot Interviews with Fin. Until next time.

Amelia Lawn:

(sings) Tarot Interviews.

People on this episode

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Fin

Host
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Nik

Producer
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Ada

Editor