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Sasha Wasley on Writing, Class, and The Society of Literary Marauders
Host Kath Dolheguy interviews writer Sasha Walsley on Not a Rich Kid about growing up working class in WA with a single mother, frequent moves and school changes due to rental instability, and finding refuge in libraries; she discusses understanding class, social and cultural capital through university study and teaching. Walsley describes a messy path through multiple degrees before completing a PhD in feminist literature, then shifting from academia to copywriting and finally becoming a published author at 40; she is now a full-time author supported by workshops, mentoring, and other writing work, and speaks candidly about financial insecurity, nepotism, and the pressure of book sales in publishing. They discuss her 20th novel, The Society of Literary Marauders, set at Oxford in 1928, following working-class student Annie and exploring class, empire, banned books, and romance, informed by Walsley’s research trip and lived experience.
Sasha’s Social Media and Website
The Society of Literary Marauders OUT MARCH 30th 2026
00:00 Podcast intro
02:02 Sasha’s childhood and books
04:11 Mum’s work and instability
06:28 Class awareness and capital
10:12 Uni detours and burnout
14:38 PhD path and feminism
16:00 Writing dream to career
18:46 First paid writing and publishing
23:15 Class and privilege in publishing
29:56 Money, clothes, and making do
33:07 Normalising multiple incomes
35:07 Guilt Around Writing
36:17 Claiming The Author Label
38:29 Mentors And Industry Allies
39:26 Inside Literary Marauders
43:38 Writing Class And Empire
46:18 The Hidden Cost Of Uni
50:32 Research Trip To Oxford
54:12 Owning Your Background
57:01 Money Talk In Publishing
01:00:39 Social Media And Banned Books
01:02:06 Best And Worst Jobs
01:03:16 Buffy And First Reflections
01:04:38 Jane Austen And Farewell
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The Not a Rich Kid Team:
Post audio - Mike Tillbrook
Theme song:
‘Barry Michael Takes a Train’ by Sand Pebbles - Written & performed by Ben Michael and performed and mixed by Murray Ono Jamieson.
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Supported by the City of Melbourne Arts Grants