In Conversation with Sarah Davy, founder of Northern Writers Studio

Since its launch in October 2020, Northern Writers Studio — a resource bringing writers together through workshops, groups, networking and events — has reached hundreds of established and emerging writers based in the North of England.

The writing platform and support network was created by Sarah Davy, a writer, maker and facilitator living in rural Northumberland, who was driven by a desire to help those who felt left out or disconnected from the writing and publishing world due to physical location or background.

We recently spoke with Sarah about how she came to establish Northern Writers Studio, her goal to grow a community of writers who can offer workshops, advice and mentoring to others and why its important to provide supportive spaces for people at all stages of their career.


How did you first get into writing and publishing?

Writing is something I’ve always done, but never taken seriously. I got my Literature degree with the Open University while working full-time and took a creative writing block. Everything fell into place and I started slowly sending work out. I won my first writing competition in 2018 and have been working towards being a writer since then.

What support did you have when carving out your own career path?

It worked like stepping stones, one thing leading to another then another. So after I won the writing competition, Susie from Hexham Book Festival asked me to lead a workshop at the festival. This boosted my belief in myself which then led to me building links with Helen at Forum Books. When she asked me to be writer in residence it was like I’d been given permission to take myself and my writing seriously. Building an online community alongside this, mainly on Twitter, has been so valuable is finding like-minded people and opportunities.

Why did you create Northern Writers Studio?

When the pandemic hit, I had a busy year of workshops and writing gigs planned, but they were all cancelled. I wanted to find a way to keep working and to bring people together. Writing can be a solitary task, but I don’t think you have to do it alone. People still needed to feed their creativity and be able to bounce off other writers. It just felt like the right thing to do especially with the future being so uncertain. And as well as helping everyone who has joined in, it’s given me a purpose and a new focus.

What does Northern Writers Studio provide in terms of support and events for those working in publishing in the North?

The Studio works with writers of all abilities and the main focus is getting people together to create a sense of support and community. I run Zoom writing sessions, regular writing groups and spoken word evenings where people can share their work. I also wanted to create paid work for writers, so I engage Northern writers to lead workshops on all aspects of creative writing. There are also regular discussions where I learn what people need so I can develop new events and resources to help people find the right support and place for their work.

What has the response been like so far?

It’s been really lovely, participants are a mix of brand new, emerging and published writers. There have been some lovely events; a poetry collection launch for Caroline Hardaker where Chris Riddell live illustrated; a spoken word fundraiser for East End Women; inspiring and often emotional workshops; and an overall growing sense of community and mutual support. Since launching in October 2020 over 200 writers have taken part in the events programme. And not just from the North. Although everything is led by Northern writers, people take part from across the country and the world, which is the joy of being online!

Do you think there is a discord between publishing in the South and the North?

Yes! Publishing is very London-centric, and this is a barrier to people who want to work in the industry and to Northern writers who feel like opportunities and connections are not open to them. It’s also about class as well as geography, and there are some deeply entrenched behaviours and expectations that need to change. The gatekeepers of the publishing industry don’t represent the voices who need to be heard. 

In your opinion, what can be done to make the publishing industry more equal and inclusive?

There’s already brilliant work being done by New Writing North, the Northern Fiction Alliance and a host of indie publishers. Some big publishers are opening regional offices, but this just isn’t enough. A huge shift in the way we work and who we work with is needed. There’s a great report here by Professor Katy Shaw, which talks about the need to decentralise publishing and to include diverse voices from across the North and the entire country. I do think we’re leading the way in the North and hope that we can keep up the momentum and make meaningful, long-term change. 

Who are some of your favourite authors from the North? 

There have been some brilliant debuts in the last couple of years, my favourite is Saltwater by Jessica Andrews, which included locations I know from childhood. It’s the first time I’ve recognised a place so deeply in a book and it was really transformative. I loved My Name Is Monster by Katie Hale and have Boy Parts by Eliza Clark and Exit Management by Naomi Booth on my reading pile. I’m also hugely looking forward to Test Signal from Dead Ink books, a new anthology of Northern writing which has a brilliant line-up. 

Photo by Ann Nekr on Pexels.com

Why is it important for you to support your fellow Northern writers?

In my own writing journey, I often felt left out or left behind or just not good enough when looking at opportunities, primarily because of the London and often middle class focus of publishing. I want to make sure others don’t feel like this. We have so many rich voices, and unique stories to tell and I hope that by helping people work together, we can enable and amplify Northern writers.

What is next for Northern Writers Studio?

Even as the world starts to open up, my plan is to keep going as an online platform. There is a programme of workshops and a summer school as well as our regular Zoom writing sessions. I’m hoping to offer mentoring from September and just want to continue to reach people who might otherwise feel left out or alone. Getting this off the ground and seeing how much it’s meant to people has been a silver lining to lockdown, and one I’m holding onto. 

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This New North: A Celebration of Diversity, Short Fiction and Northern Writing Talent

Early March marked the exciting release of a new anthology, packed to the brim with writing from an exceptional lineup of new northern voices. The collection is edited by S.J Bradley, author of Brick Mother and Guest, both published by Dead Ink, and Anna Chilvers, author of East Coast Road, Tainted Love and Falling Through Clouds, novels published by Bluemoose Books

Featuring 15 stories in total, the anthology celebrates work from 12 new Northern voices who have graduated from the Northern Short Story Festival Academy programme. It also includes 3 exclusive stories from editor Anna Chilvers, Litro Fiction editor Barney Walsh and Richard Smyth, author and literary critic. 

Initiatives such as this one are so important to increasing regional diversity in publishing, shining a spotlight on new potential for the industry. We’re seeing more and more of a focus on Northern writing and regional voices breaking through the London-centric noise, particularly with incredibly insightful work from women. 

In her foreword to the anthology, Chilvers reflects on the programme: 

‘The discussions revolved around how far the form could be bent, stretched and subverted. The writing was exciting and brave… There was an atmosphere of playfulness, a freedom to try out new and innovative ideas.’ 

These traits can be read as distinctly northern; the seeking of innovation and subversion of the ways we see and write about the world are strongly present throughout the series of stories in the anthology. 

In Haleemah Alaydi’s A Very Private Confession, she intelligently explores human desire and intimacy, both up close and at a distance. Alaydi’s narrator is obsessed with the couple next door and becomes entangled in their lives from the other side of the wall. She finds comfort in their intimate moments but the more she has to hide it, the more her own relationship with her partner Gabriel begins to suffer. This story was excellently written, structured with intention and features a twist to rival any bestselling crime novel. 

The potential for honesty and vulnerability to be explored through short fiction is certainly a defining feature of the stories in This New North. Another piece that stands out is Jennifer Isherwood’s Artefacts. Capturing the intense feelings we experience in the most mundane of moments, Isherwood crafts a story that is both tender and thought-provoking. 

Brian is faced with a letter that brings his security into question — his house has been built on a mineshaft and could collapse at any moment. Through this hook, the reader is encouraged to

think about home and heritage; at one point the author invokes historical locations on the northern landscape that cleverly connect the protagonist with his past. Through outstanding writing and sharp reflections, Isherwood’s story is certainly a memorable one. 

Having explored the whole collection, it can be concluded that This New North is an impressive anthology of stories which carefully curates a wide selection of themes and experiences. It’s fresh, artistic and brilliantly captures the diversity of stories and talent in the North. Looking ahead, it will be exciting to see how these voices progress and how projects such as this one will inspire even more northern writers to emerge into the world. This New North is published by Valley Press, based in Yorkshire. You can purchase a copy here.


Words: Beth Barker 

Beth Barker is a writer and blogger from Blackpool, now working in Manchester. She also co-hosts Up North Books, a podcast celebrating books and writers from the North of England. 

Beth wanted to contribute a monthly review to NRTH LASS in order to shine a light on Northern women writing great books. The North is very much underrepresented in publishing and she hopes a monthly review throughout 2021 will showcase the talent Northern women have to offer.

For more book reviews and insights on publishing in the North, follow Beth on Instagram and Twitter.

On Being a Woman

This is the kind of narrative that could begin with a trigger warning. I’ve never started anything with a trigger warning, and I don’t intend to now. If I were to start this with a trigger warning then, as per the rules of this warning, at birth, all women should be served with such a caution.

Last week was International Women’s Day and I hold this event close to my heart. Every year I take time to think about the women in my life who have influenced me and helped me grow into the woman I have become, and the woman I am still learning to be. I am lucky that I am not the original feminist in my family, in fact the original feminist does not hold a place in my generation, or even my mother’s generation. The original feminist in my family is a crown firmly worn by my grandmother and she is exceptional. I would go as far as to say that her mother, my great-grandmother, whom I knew until I was just shy of fourteen lay the groundwork for a line of women who were not afraid to use their voice or go after a life they felt they deserved.

For a number of years I have used this annual event to celebrate and be grateful for remarkable women, however this year I felt that all this time something was being negated. I was no longer acknowledging the sheer anger I feel on a regular basis, instead happily falling in line and choosing to focus on where women have succeeded, whereas in reality it should be a day to also highlight the fact that a woman’s ‘place’ in the world still has a long way to go.

The problem is it’s hard to be so angry all the time. As I’ve been raised a feminist I have spent much of my adolescence and into early adulthood being really, really angry. And it is tiring. I studied sociology at college and found that the feminist theory I was being taught was in no way advanced enough. I am conscious of my gender so have taken time to learn about how this affects where I stand in the world. Throughout the pandemic I have chosen to use the time to educate myself further and last year I watched a plethora of documentaries on the likes of Ruth Bader Ginsburg, Alexandria Orcasio Cortez and Gloria Allred. Upon its release I devoured Mrs America, which has since taken some stick for its portrayal of the Women’s Movement, but I think as an extremely watchable drama it introduced a whole host of people to a topic they didn’t even know existed.

I staunchly researched the Equal Rights Amendment and read Gloria Steinem’s memoir, in fact over recent years I have made a pact with myself to try and read books written exclusively by women. I studied English Literature at university and we were vastly underrepresented, a tragedy I have been endeavouring to change ever since graduation. All of this new learning continued to teach me something I frankly already knew; the voices of powerful women are few and far between, movements that are female led are slow to be taken seriously and amendments pertaining to the rights of women and girls, or the protection of women and girls are near impossible to get written into law, tragedies I have been trying to come to terms with for a good half of my life. 

Being a woman, whether that be your biological gender or a choice that has been made, is akin to being a second-class citizen. And that is before you start to explore the different facets that make up this category of people; things such as race, class or disability meaning that the levels of prejudice against women vary extensively throughout society. As I wrote that first sentence the dominant part of my thinking said don’t be so dramatic and as a result I nearly deleted it. This is a problem. A survey released last week announced a very real statistic: 97% percent of women between the ages of eighteen and twenty-four have been the victims of sexual harassment.

This did not surprise women and those that did seem shocked (myself included) were simply amazed that the statistic was not higher. I’d argue the figure is closer to one-hundred percent but the harassment experienced has been shrugged off, or deemed not important enough to note. I have been guilty of this for much of my adult life. I was raised to be strong in my femininity and as a result of this I’ve refused to be a victim. I think lots of women will be in this position, where harassment becomes such a norm, or so tiring that you just have to ignore it otherwise you begin to feel yourself living in a constant state of victimhood. 

I worked in hospitality for ten years and the industry is rife with sexism, harassment and assault. Being behind the bar can be akin to being trapped in some kind of pen, a pen where men feel that they can say or do whatever they like to you and are completely within their right because of the job you have. To count the amount of times I heard give us a smile, love, you’re prettier that way, would waste more time than I have to spare. (Side note here: there is an excellent Lily Tomlin quote in which she says ‘Science has proven that you feel better when you smile. Unless a man is telling you to do it, in which case, never smile.’)

I would spend many an evening asking men politely to please don’t touch me to be confronted with why or alright love, calm down in response. As a manager I had to ask bouncers to physically remove men who would not take the answer of no from female members of staff, who could not take themselves out of the situation as they literally had to be there because it was their job. One member of staff ended up having to inform the police about a male customer who had begun stalking her, only for our (male) manager to then intervene and inform her that she wouldn’t have this problem if she didn’t dress the way she did. Yes. I just wrote that down and it is entirely true. 

I could go on, but like I’ve mentioned, it’s tiring being this angry and the rage I’ve reconciled in relation to these events over many years can so easily begin to rear its ugly head. Some of this is harassment and some of this is assault. Yet when I and the other women involved were living it, it was simply our work. This is another problem. It is so relentless, so overt, so outright and so unfortunately ordinary that it just becomes life.  It is when you step back from the situation, when you no longer deal with those things every single day that you realise that that is not what normal should be. When I left the industry one of the things I was grateful for, and still mention being grateful for now over a year later, is that I no longer have to deal with men touching me without my permission. And I am one of the lucky ones.

Women across the country have been shaken by the events that have unfurled over the last ten days. Some men have asked us why and taken steps to instigate understanding and change. Other men have shouted not all men and continued to show women that our experiences, our voices and our truths are not welcome. Women aren’t stupid, we know it’s not all men. The problem is, it transpires that a lot of the time we don’t know which men fall into the ‘not all men’ category. I’m lucky in that my partner and male friends fall into the category of men who understand and this is one of my biggest privileges. For a lot of women (one in four actually) it is the men within their homes, whom they trust enough to live with, who put them in harm’s way. When 25% percent of half the population are victims of domestic abuse then attitudes and behaviours have to change on a large scale. 

‘Lad culture’ has a lot to answer for and it is these small acts, often passed off as ‘boys will be boys’ or ‘harmless banter’ that lay the foundations for abuse towards women and sadly, I do believe that a large proportion of the male population partake in these kinds of discussions or ‘jokes’. We all know the kinds of things; that lads chat where one member of the group shares some particularly derogatory porn and everyone replies with lol, that group of blokes you hear in the pub complaining that the Mrs wants them home, the school boys at the back of the bus comparing and rating the girls they share a class with, when a woman is upset and a man within earshot asks if she’s on her period, or that old man up the road sharing female-lead articles in a WhatsApp group with the opinion she’s just overreacting.

The list goes on. And on. And the further it goes on the more it legitimises the idea that women can be treated as secondary objects there for the entertainment of men. If this is what society is teaching its young boys it is unsurprising that some boys grow into men who disregard, harass, assault and, in too many cases, murder women. 

It is not fair that one half of the population live with some level of anxiety pertaining to their safety in this way. For those who argue that it is ‘not all men’ then I pose the fact that not all women are raped, not all women are murdered but in these instances all women are asked to take extra precautions to ensure that they do not become a statistic. Like the outcry in the eighties during the Peter Sutcliffe murders, why is it that again all women are asked to abide by a curfew when it is in fact men who are unable to be trusted after dark. It is unfortunate for men that their reputation be tarnished by the actions of a few but women feel the effects in a much more serious way on a regular basis. I’ve already read how the language surrounding this topic is a problem, we talk of women being raped instead of men raping women, of girls getting pregnant instead of boys impregnating girls, of women being victims instead of men victimising and abusing. The language is all passive, these are things that happen to women, there is little in the fact that the power lies with the men who engage in these acts. 

There is a reason that the Sarah Everard case has affected women so deeply. It is random. It is inexplicable. It could have been any woman. Like the Black Lives Matter protests of last year, it is the disbelief, anger and fear that comes from the realisation that today’s culture is defined by a lack of both trust and accountability. It is not an irrationality that makes series like The Fall (something I stopped watching) and Luther (something I saw through and had many sleepless nights over) so terrifying. They are a mirror to the world that women live in. 

A male friend of mine rang me on Thursday because he wanted to talk about this topic and I was really grateful. He was angry and frustrated but ultimately, we discovered what he truly felt was embarrassed and distraught that people still needed to be told how to keep women safe. As we talked I was reminded of that famous Margaret Atwood quote; ‘men are afraid that women will laugh at them. Women are afraid that men will kill them.’ It is at times like these that this sentiment is keenly felt by all women. It is that underlying knowledge, somewhere in the female subconscious, that this is a reality that keeps us sleeping with the lights on after we’ve watched a crime drama, keeps us on the phone as we walk back to Piccadilly in the evening after a gig, that means we think twice about going for a run after the sun’s gone down, that makes us wonder whether we take that route or the longer, busier, better lit one, that ensures we keep our headphones out when walking somewhere lonely, that means we keep our heads down when those men in that van shout something vile, that mean we cross the road when walking past a busy beer garden and then the more severe. Those instances where a woman will do what a man wants because of that fear; where a woman will agree to a date just to get someone off her back, when she’ll let him kiss her goodnight just to shut him up and (more often than people like to imagine) let him sleep with her because the consequences aren’t worth risking. 

Being a woman can be difficult and infuriating and change is vital. Sometimes we fall victim of remembering the Suffragettes and the Women’s Movement and thinking that the work is done, that it’s better than it was, that life is more equal. It is, but it’s not far enough. It is seven years still until we can celebrate the centenary of all women over the age of twenty one winning the right to vote and in those ninety three years things have progressed but not enough. When women look to our current prime minister and see a man who is the subject of many jokes pertaining to how many children he has, with how many women, how can we believe we’re going to be taken seriously. When it takes campaigns and movements to get acts such as ‘up-skirting’ criminalized how can we believe that our rights are taken seriously. When misogyny is still not a hate-crime how can we feel valued and protected. 

I think, if you’re reading this then perhaps I’m preaching to the converted. But this doesn’t matter. Throughout my life I’ve found that when I’m angry or grieving or having big feelings that I don’t quite understand, I need to hear them from someone else. I need to read or listen to an experience that provides me with the language to express myself properly. I need to be given a framework in which to discuss my experiences and my feelings.

When the Guardian shared the 97% statistic on their Instagram feed I read some of the comments. One of them was from a fifteen year old girl who said she had experienced some behaviour at the hands of a man that she didn’t like, but she didn’t think that it constituted as harassment. There were tens of replies from other women. No one judged her, no one told her to be quiet, no one told her she was right. All these women told her that if she didn’t like it then she was harassed. All these women told her that her truth was her own. All these women apologized that she had to experience that. That girl has had her experience validated. She has been provided with the language she needs to identify and speak about her gender. The more women do this, the harder we will be to ignore. 


Saffron Rain lives and writes in Stockport. She was born and raised around Manchester, only moving away to get her degree and subsequent MA in English Lit in Sheffield. During this time she wrote ardently on the North, particularly female writers and filmmakers. 

Her preferred form is the personal essay and she enjoys writing about topics that she connects to on a personal level. Some of these have appeared in independent publications and she shares longer pieces on her own blog. She loves to read, particularly women, and will take any opportunity to crowbar Joan Didion into a conversation. 

Landscapes, Identity and Belonging: Castles from Cobwebs by J. A. Mensah

February marks the arrival of Castles from Cobwebs, the highly anticipated debut from J. A. Mensah, inaugural winner of New Writing North’s NorthBound Book Award. Much like her recent story in The Book of Newcastle, published by Comma Press, it’s as powerful as it is unique.

This magical realist novel comes alive through a weaving narrative, told from the perspective of Imani, rescued and raised by a convent on a remote Northumbrian island. Much like a cobweb in structure, Mensah spins a story out of fragments, mirroring Imani’s displacement and confusion surrounding her identity. This element was particularly poignant from a reader’s perspective, acting as a continuous reminder that her childlike curiosity at the beginning of the book is rooted in something bigger.

‘I’d always known that I was Brown. Black was different though; it came announced. Black came with expectations, of rhythm and other things that might trip me up.’

Divided into three sections, Mensah explores Imani’s conflicting identities through sharply contrasting landscapes. First, Northumbria. While the water that separates Holymead Island the mainland draws attention to her isolation, the protagonist feels a connection with the nature that surrounds her. Here, it is her Blackness that defines her and is the thing that truly makes her feel separate. Then, she is called to Ghana following the death of her biological mother. A chaotic landscape in comparison, full of sound and rhythm and intrigue for her cultural heritage. Belonging becomes difficult again when she realises there is more to her identity than the colour of her skin.

In an interview with New Writing North, Mensah mentioned that the novel is in part influenced by her own experience, working in Northumberland and her father’s roots in Ghana. She explains: “I haven’t lived in either location, but both places are sites that are ‘almost home’ to me. And in both I don’t completely belong.”

Similarly, Imani’s identities continuously conflict and intersect, an idea the author successfully explores and seeks to reconcile throughout the novel. In the process, Mensah brings a brilliant lyricism to the way she constructs the story — poetic, sharp and consciously moving.

‘Tin. / I replay the things Aunt Esi has said. / Tin, tap. / Lay them beside what Aunt Grace toldme. / Tin, tin. / Moving the pieces around, I try to fit them together, to make sense of it all. /’

One aspect of the book that stood out as incredibly interesting were the themes of faith and belief, particularly the distinction between her English and African cultures. The author implements one key symbol which unites the two: Imani’s spirit companion (or imaginary friend), Amarie. The themes of belief, faith and reality are beautifully combined in this character who transcends religious identity, a really intriguing aspect to dwell on as a reader.

This striking debut is a memorable read that shines a light on important social issues whilst telling a beautiful story of hope, friendship and self-discovery.

J. A Mensah is a writer based in the North East of England. You can buy her novel now, available here.


Words: Beth Barker 

Beth Barker is a writer and blogger from Blackpool, now working in Manchester. She also co-hosts Up North Books, a podcast celebrating books and writers from the North of England. 

Beth wanted to contribute a monthly review to NRTH LASS in order to shine a light on Northern women writing great books. The North is very much underrepresented in publishing and she hopes a monthly review throughout 2021 will showcase the talent Northern women have to offer.

For more book reviews and insights on publishing in the North, follow Beth on Instagram and Twitter.

True Crime, Trauma and Hope: Girl A by Abigail Dean

Abigail Dean’s Girl A is set to be one of the biggest books of 2021, a prediction that can be concluded as completely well-deserved upon reading it.

The story is narrated by Lex Gracie, better known as the girl who escaped from the House of Horrors, a location of crime made infamous by headlines in the novel. Lex and her six siblings were victims of abuse, held hostage and starved, a fact made even more harrowing when the perpetrators are revealed to be their own parents. Now a lawyer in New York, she is faced with the death of her imprisoned mother and the house left behind in the UK, forcing her to reconnect with her siblings and come to terms with the childhood they shared. Through a carefully-crafted and weaving narrative, Lex tells the story of her escape, her suffering and the way such trauma and abuse is processed.

A key element of Girl A which makes it stand out amongst other books of similar content is Dean’s effort to avoid explicit reference to the abuse itself, a refreshing take which allowed more thoughtful reflection and at times, a more focused reading experience. In an interview with The Bookseller, Dean explained her interest in writing a book that ‘deals less with the intricate details of the terrible things that do happen, and more with how trauma is processed’.

This intention definitely came to fruition in the novel. Lex’s position as narrator allowed a reading journey reminiscent of any real crime story; outsiders can never possibly understand the experience of victimhood in its entirety. The narrator often felt cold and distant but also at times tender and intimate, marking a successful attempt by the author to demonstrate how trauma and recovery often manifests itself. This process reaches climatic heights in the novel’s powerful twist, both unexpected and completely brilliant. 

Part of Dean’s inspiration for the book originates from a true crime story traced back to the Turpin family, California. The case saw a couple charged for imprisoning their children and subjecting them to a cascade of neglect and abuse, only discovered after the escape of their seventeen year-old daughter.

The links between Girl A and the Turpin case are stark, injecting Dean into a tradition of writers using true crime to inspire fiction, some notable examples also from the North of England include David Peace’s 1980 and Pat Barker’s Blow Your House Down. Both of these authors took true crime stories and utilised them as inspiration for iconic literary fiction — Dean could well be on the path to joining them with her intensely compelling debut novel. 

If Girl A could only be summarised by one word, that word should be hope. The author builds a story full of characters who feel alive, pulsing with real feelings and experiences. Their reactions, dialogue and personalities all contribute to an overwhelming achievement in terms of characterisation, something which is often missed out on when horrendous crimes are allowed to take centre stage. The relationships in the novel were particularly absorbing, especially when childhood rivalries and loving bonds were tested between the siblings. Hope is at the forefront, despite the memories of pain, and it is definitely a testament to the strength of victims everywhere who have experienced such abuse.

As far as debut novels go, this one is an absolute accomplishment. Combining true crime, trauma and proof of hope, Girl A is as memorable as it is captivating. 

Abigail Dean is a lawyer and author, born in Manchester and raised in the Peak District. You can buy her novel now, available here.


Words: Beth Barker

Beth Barker is a writer and blogger from Blackpool, now working in Manchester. She also co-hosts Up North Books, a podcast celebrating books and writers from the North of England. 

Beth wanted to contribute a monthly review to NRTH LASS in order to shine a light on Northern women writing great books. The North is very much underrepresented in publishing and she hopes a monthly review throughout 2021 will showcase the talent Northern women have to offer.

For more book reviews and insights on publishing in the North, follow Beth on Instagram and Twitter.

Launching The Book of Newcastle with Comma Press

Launched on the 6 February 2020 at Newcastle City Library, The Book of Newcastle continues to showcase new writing from the North of England by visiting the North East. A new addition to the Comma Press award-winning ‘Reading the City’ series, the book is a carefully collated collection of stories originating from the original Northern Powerhouse; The Book of Newcastle explores the city’s industrial heyday, when Tyneside engineering and innovation led the world, through decades of post-industrial decline, and lack of investment, to its more recent reinvention as a cultural destination for the North. 

Featuring stories from renowned literary talent, Julia Darling, to exciting contemporary author Jessica Andrews, the book draws on new and emerging writers to feature alongside established wordsmiths.

NRTH LASS spoke with the book’s editors, Angela Readman (poet and short story writer) and Zoe Turner (Publicity and Outreach Officer of Comma Press) to learn more.

How and why did you both come together to produce The Book of Newcastle?

ZT: The Book of Newcastle is a project that was started over ten years ago by Comma’s commissioning editor, Ra Page and originally edited by Angela as a smaller pamphlet publication called Newcastle Stories. Having lived in Newcastle for over twenty years, and being an award-winning author herself, Angela was a natural choice to co-edit this project with myself at Comma.

AR: The wonderful thing about us working together on the project, was getting a fresh perspective about the city, as the well as the perspective of someone more familiar with the area. Sometimes Zoe had questions about things I may have taken for granted, and it made me look at the city in a different light. It was like coming here for the first time all over again.

Why was it important for you to explore both the city’s fallen industrial past and continual lack of investment alongside its dreams for a prosperous future?

ZT: Newcastle, like any other city in this series, needed to be put into its historical and political context – when asking authors to work to the brief that their stories should be set in or against Newcastle’s geography, or its recent history, it was assumed that the stories would reflect through their characters and narratives, some more subtly than others, the past of the place and why the lives led there might be different from those led elsewhere.

AR: There’s something about knowing the past of a place that makes its dreams for the future feel even more fragile and precious. Though we didn’t specify that any of the writers had to write about fallen industry overtly, that sense of lingering worry appears in the stories and brings the characters to life.

Could you give us a brief summary of what we can expect from the ten stories?

ZT: Whisperings and longings – the personal that lies behind the strong identity of Newcastle, and the minute details which make up the city’s presence. 

AR: Loneliness, longing, and the loveliness of living in the city.

It’s great to see emerging writers alongside renowned literary talent. What were the main components you were looking for within each story?

ZT: What we were looking for from all of these stories, as with each collection in our ‘Reading the City’ series, was for them to touch on things that citizens of Newcastle would be familiar with, and which general readers outside of the city might not be. We wanted this collection to encapsulate an inside understanding of Newcastle but one that, at the same time, could be applied on a universal level. 

AR: For me, I always like to read short stories that make me forget where I am. I want stories to take me to a whole other place. With this book, that place was Newcastle, I wanted every story to take the reader there and invite them to look around.

Finally, after compiling so many stories of Newcastle, could you tell us what you love the most about the city and the north?

ZT: I only visited the city for the first time last week for the book’s launch event! But what struck me was the understated beauty of the place, and the protective power that the River Tyne seems to hold, which seems emblematic of the ferocious respect with which Newcastle’s people lift the city up.

AR: I love Newcastle for its resilience. I love the architecture built under grey skies, and our sense of just cracking on with it. Most of all, I love the humour of the north, it’s a gallows humour sometimes, and sometimes a wild celebration of living it up while you can. It feels like home.