Book Review: A Hopeful Manifesto for Change – Karen Lloyd’s Abundance: Nature in Recovery

Beth Barker’s final book review for 2021 comes in the form of Abundance: Nature in Recovery, a collection of literary essays by Karen Lloyd, a writer from the Lake District in the North of England.

As we entered the autumn season, the shelves of bookshops were flooded with fresh literary talent. One book that stood out was Abundance: Nature in Recovery, a collection of literary essays by Karen Lloyd. With the climate crisis becoming increasingly urgent, the publication of this book felt particularly important and necessary.

Abundance is a work of art in which the literary and natural worlds collide. For many, nature writing can be overwhelming, but Lloyd’s writing is refreshingly accessible. The book’s purpose is to explore abundance and loss, in part concerning itself with the damage done to our environment. Lloyd writes:

“When I turn on the news or read a newspaper, I am assailed by all the losses in the natural world. The natural world is being flushed out.”

The book opens with a bold question: what kind of future will our children and grandchildren have on this planet? The reader gets the feeling that in this book, we’re going to find out. Throughout several essays, signifiers of change are explored, from the toxic algal blooms in the Lake District National Park to the ferocious Storm Desmond and floods that ensued. While these events and occurrences draw our attention to the ever-pressing ecological crisis, causing us to dwell on them is not the author’s intention.

“Something in my neural pathways blocks me when I try (admittedly not very hard) to imagine what things will be like for my boys – for my two young adult sons – and for their one-day families. Will they have families? Is it OK to continue having families?”

Abundance, I believe, is a book partly about hope and partly about seeing things in a new light. Told through joyous narratives that weave between well-researched facts and personal experiences, Lloyd’s essays provide a manifesto for change. She believes the solution to our problem is to reconnect with and repair our relationship to the earth – to encourage the alignment of humans and the natural world. As well as documenting the disasters we face, Lloyd also draws our attention to the incredible work done by conservationists and calls for education reforms to make natural education a priority.

Among other things, Lloyd’s work exudes a pure love for nature and what it has to offer us as individuals, communities and as an entire species. Whether it’s wolves, whopper swans, damselflies or beavers, these essays are full of passionate explorations of the world around us. Wild swimming and woodland hikes remind us that there is so much beauty to enjoy outside of our echo chamber – seeing it might just change our perspective entirely. “Let’s seed the idea of return through the seeding of languages that wander through the world. If we want it, all we need to do is imagine it into being: 3… 2… 1… go. Hearts and minds. What you don’t love, you can’t save. Save what you love.”

Karen Lloyd is a writer and environmental activist from the Lake District. Abundance: Nature in Recovery was published in September by Bloomsbury. You can purchase it here.


Words: Beth Barker 

Beth Barker is a writer and blogger from Blackpool. She is the co-host of 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.

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Book Review: Masterful Short Fiction – Sarah Schofield’s Safely Gathered In

As the year draws to a close and the nights draw in, candlelit reading becomes an absolute essential. November marks the launch of the perfect accompaniment: Sarah Schofield’s Safely Gathered In. Published by the incredible Manchester-based Comma Press, this electric short story collection is definitely one to add to your winter reading list.

A woman grows increasingly annoyed by her husband’s emails, offering advice and reminders even months after his death… A taxidermist dreams of preserving one of his clients after she takes him out for a coffee… A grieving nurse is troubled by her daughter’s fascination with The Iron Lady…”

With style comparable to Sarah Moss and the ability to evoke unease like Naomi Booth, Schofield’s storytelling certainly leaves a mark on her readers. One of the potent threads running through the collection is an obsession with objects. Schofield interrogates how they define us, our relationship to them and what they can eventually come to represent. This is the feeling delivered by the title story – Safely Gathered In – crafted in list formation to depict the contents of a series of storage units. While the idea seems simple, I loved how these inventories brought people and personalities to life without making their presence known. Powerful and unsettling, this story really sets the tone for the whole collection.

My favourite story opens the collection, cleverly entitled Dead Man’s Switch. Emmy, the plot’s protagonist, grows increasingly annoyed by her husband’s emails offering advice and reminders even months after his death. Whether it’s home insurance or her upcoming MOT, David’s words of wisdom continue to arrive in her inbox. Sharing the annoyance with her sister Kath as she tries to move on with new partner Gary, the speight of emails allow Emmy to reflect on her old relationship as well as the new. I loved how this story sparked thoughts about technology and how the modern age we’re living in allows us to extend our lives beyond expiration. Schofield also played with objects in this story to experiment with ideas of memory, loss and grief. Fisherman’s Friends, knitting needles, old books. All of these objects define something, and the author allows the reader enough space to decide what that is.

“It’s their last day on the beach and Emmy slips out her phone while Gary goes to get ice creams. There is another email from David. It is a reminder to cancel or renew their wine subscription. She scrunches her toes into the sand, heat flashing behind her eyes. She presses reply.”

Another critical theme reflected in Schofield’s stories is motherhood. Keenly observed and told with captivating honesty, she captures the trials and tribulations of family life. In Termination Happy Meal, a mother takes her teenage daughter to a McDonalds, presumably after visiting the abortion clinic. Told over less than two pages, the story casts a searing light on the wrought

nature of mother-daughter relationships. Again explored through objects in the story, Schofield brings to life the conflicts of growing up and the decisions that define our lives. For a story of so few words, it really is a triumph.

I was lucky enough to hear Sarah read from her collection at a pre-launch event: a short story salon hosted by Blackwell’s Manchester. Reading alongside the incredible Lucie McKnight Hardy and Vanessa Onwuemezi, it was a fantastic opportunity to hear more about the collection in real life after such a long time without in-person book events. Schofield read eloquently and gave some key insights about her craft, particularly how she likes to write and how her stories come together. If you’re looking for a true example of how to create haunting, bold and brilliant short fiction, Sarah Schofield is the beacon to look to.

Safely Gathered In was published in early November 2021 by Comma Press. Support your local bookshop or buy your 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.


Book Review: Vanishing Husbands, Unconventional Love and Razor-Sharp Humour – Jenn Ashworth’s Ghosted: A Love Story

When June came around, the anticipation for a new book from iconic Northern author, Jenn Ashworth, was finally relieved with the release of Ghosted: A Love Story. Published by Sceptre, it’s the latest in a string of diverse, gripping and unforgettable reads written by the Preston-born, now Lancaster-based author.

On first impressions, Ghosted may appear to be a book about the modern dating concept of ignoring someone into non-existence. While the author does touch on that idea being the origin of the title, her book subverts it, taking it to new extremes. Her husband literally vanishes without a trace, whether purposefully or not.

The premise of the story is really that simple — it’s the vivid complexity of the self, relationships and navigating those two things which makes this book so incredible. On one ordinary morning, Laurie’s husband, Mark, disappears. Leaving his phone and wallet behind, he vanishes from the face of the earth, seemingly without a trace. The story explains how Laurie tells no-one for weeks, going about her daily life as if nothing has changed at all. As far as elevator pitches go, it’s certainly a book I was very intrigued to get into.

Laurie decides that in order to establish why her husband has disappeared from the present, she must revisit the past and retrace the steps of their relationship. One of the most enjoyable aspects of Ashworth’s brilliant novel is the way she captures the complexity of love and the way we interact with others. In Ghosted, marriage is ordinary in moments, exceptional in others; dull at times and warm in glimpses. There is no black and white with Ashworth’s characters — every person and the relationships they’re entangled in are laced with excitement, intrigue and multi-layered complexity.

While diving into the depths of love and all of it’s mysteries, the author delivers the story with some of the wittiest and most humorous writing I have ever experienced. Despite the content being deeply sad and heart-wrenching at times, Ashworth’s storytelling is cackle-inducing to say the least. In one instance, the narrator refers to Penelope, the wandering Odysseus’ faithful wife as a ‘poor daft sap’. While reminding the reader that the author is definitely northern, she makes use of classical parallels in the funniest way possible. Rivalling the likes of Otessa Moshfegh’s My Year of Rest and Relaxation or Raven Leilani’s Luster, the book combines tragedy with wit in a way that makes an unsolved mystery satisfying — it was truly a delight to read.

As well as razor-sharp humour and complex relationships, Ghosted also explores class, physicality and memory, all with absolute writing excellence. There’s no doubt that this book deserves a place on everyone’s summer to-be-read pile, especially if they’re particularly interested in flawed women narrators and on the lookout for a Northern setting. Jenn Ashworth is a stellar writer and Ghosted is the perfect addition to her already-iconic list of books, all entirely unique and eccentric in their own special way.

Ghosted: A Love Story was published in early June, now available to buy 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.

Anna Wood’s Yes Yes More More: Stories of Pleasure and Friendship

A not-so-sunny May marks the launch of the warm and eclectic short story collection by Bolton-born Anna Wood: Yes Yes More More. Published by The Indigo Press, Wood’s debut is a comical, heart-warming and introspective example of masterful short fiction — an absolute treat for readers and aspiring writers alike. 

The book’s blurb promises ‘stories that explore the radical possibilities of pleasure’, something that was immediately apparent even in the first few pages. Delving into the decades of a woman’s life, Wood gives readers a look at unexpected situations, hilarious interactions and surprising characters, all while maintaining absolute clarity and creative use of language. 

During her live book launch on Instagram, hosted by the brilliant Alice Slater, Wood shared some interesting insights about the collection and the process of writing it. Written over 10 or so years, Yes Yes More More is truly an example of how time and dedication really does produce precision — and arguably perfection too. 

I was intrigued to know how the author’s Northern identity impacted her writing of the book, and asked how place is relevant to her work, particularly in stories like Rise Up Singing which is set in her hometown of Bolton. During the Q&A session, she described Yes Yes More More as very much a ‘northern book’, despite the majority of the stories being set in London. Northerness as a feeling is certainly present throughout; there’s a certain amount of joy, honesty and raw comedy that’s evidently reminiscent of culture in the North. 

Rise Up Singing explores a day in the life of two Boltonian teenagers, Janey and the book’s protagonist, Annie Marshall. It’s set in the 90s and they’ve taken acid before their English class — the perfect inciting incident for any great story. 

The way the author captures their friendship in glittering moments of dialogue and familiar camaraderie was certainly memorable, something that can be seen throughout the collection. As well as poignantly representing friendship, the story is a whirlwind of place and setting. From lingering in Toys R Us to kissing miscellaneous men in night clubs, Wood has a very unique ability to really bring an age and a location to life. 

In Chronicle of a Baffled Spinster, the author documents a year in the life of her protagonist. Each month is captured in small moments: rejection by a man she likes; joy in the presence of music; sexy dresses and smear tests. Reading this story was like seeing life through a series of postcards, the most memorable message of all being that pleasure can be found wherever you choose to acknowledge it. If nothing else, this chronicle brimming with life was just another confirmation that Wood’s collection is pure brilliance. 

Yes Yes More More is completely unique. Finding short stories that glow with insights on life, all while causing you to laugh out loud can be quite the feat, one Anna Wood has quite clearly achieved with this masterful debut. 

Yes Yes More More was published in May by independent publisher, The Indigo Press. You can purchase it 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.

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. 

Anita Sethi’s I Belong Here: A Story of Reclamation

Our NRTH LASS book column was designed to spotlight northern women writers making remarkable moves in the world of publishing and April’s pick embodies that notion entirely. This month marks the release of Anita Sethi’s long-awaited I Belong Here, a memoir that documents a journey of reclaiming belonging and finding peace in natural landscapes.

In 2019, Anita Sethi was travelling through the North of England on a Transpennine train when she was the victim of a racially-motivated hate crime. Verbally attacked and threatened with racist remarks, the writer was made to feel unsafe in a space that she once felt like she could call her own. Despite growing up in Manchester, her right to exist in the UK came under fire from a stranger, an occurrence which happens all too often for people of colour in our country.

I Belong Here is an act of defiance against that attack. As well as bravely accounting the event, Sethi weaponises her voice by putting pen to paper and embarking on a journey through the natural landscapes of the North, reasserting her right to exist and her right to belong. Exploring nature writing through such a political and powerful lens is groundbreaking to say the least and it was truly a joy to read, even if the content was emotionally challenging at times.

Written in incredible prose, the book also explores the ways in which our natural spaces have historically been controlled, cordoned off for only a small, wealthy percentage to enjoy. Throughout the book, Sethi wrestles with notions of belonging, ownership and systemic exclusion, recalling moments throughout history when explorers have used walking as a form of protest. Spaces have been reclaimed through the simple act of exploration; Sethi’s journey to reclaim her own sense of identity and inner peace strongly mirrors this resistance.

One particular extract which stood out was the author’s investigation into the idea of trauma and healing, as well as the issues moments like the one she experienced expose. Always creating parallels between human nature and nature itself, she compares trauma to the ‘faults’ within limestone, cracks that widen and deepen over time.

Through stark and powerful words that read like a manifesto for change, she writes:

“What is often not considered and acknowledged as even existing is the wider landscape, it’s fault-lines and their effects. What happened to me on the train exposed fault-lines in our society, a mixture of racism and misogyny.”

Looking at social, political and economic equalities is a strong point of the book, all viewed through a nature-orientated and hopeful lens. Every word felt like a call to arms, a voice encouraging us to see nature as healing and to assert our right to exist in spaces that might try to exclude us.

Sethi is a powerhouse writer and her work deserves a place on every bookshelf, particularly this bold and important memoir. We can’t wait to see what she creates next.

I Belong Here was will be released on 29 April and you can purchase it 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.

The Northern women breaking into journalism

Reading was my first love, thanks in most part to my older sister who would pass on books to me. I read everywhere and anywhere, always fully immersing myself in those worlds. This passion for reading led me to writing, resulting in notebooks filled to the brim with short stories and in-depth interviews with family members. Since then, I have always said that I wanted to write and be a journalist, and have explored all the options open to me. 

Truthfully, I didn’t know what a journalist was. I didn’t see anyone on the TV who sounded like me. There was very little Northern representation and even less information about how to break into the industry. When you don’t know anyone within the media, getting in is incredibly different.

As was the case for many people last year, my plans somewhat changed. The gap year I had planned disappeared so I needed to find something else to focus on. That’s where writing came back into the picture. Lockdown meant more organisations were offering free online workshops, giving everyone across the country the opportunity to network. From that I connected with a group of incredible women, who, like me, wanted a space for women to write about anything they wanted to and not worry about stress or deadlines. So Empoword Journalism was born. 

Throughout the past year, I never felt like my Northern roots were holding me back. The question I always asked in any workshops was “do you think it’s possible to get a job in the industry without moving to London?” and I always got a resounding yes. However, I am still seeing so many journalist jobs that are based down south with no option of remote working. 

I spoke to some of the women I have met through Empoword Journalism about how they broke into the industry and what they think needs to happen to make it easier for people in the North to break into the journalism industry. 

Mads Raine is a journalist from Hartlepool, and her love of journalism began whilst working on her student newspaper. “The North is definitely represented, but it is not well-represented,” she says. “Most of the action happens in London and if you decide to stay in the North you are cutting off a lot of opportunities.”

Adding: “Neither my school nor my college had their own paper. I didn’t have these creative outlets at my fingertips that so many of my friends had. Throughout my education –  until university that is – I was lacking in creativity and I don’t think being at a state-run school in a high-poverty area is a coincidence.”

“Most of the action happens in London and if you decide to stay in the North you are cutting off a lot of opportunities.”

Mads Raine

Mads wants people to realise that the North has so much more to offer and wants to see “more jobs and more internships brought to the North of England”.

Beth Kirkbride founded The Indiependent in 2014 as a way to give journalists from across the county the opportunity to get their work published and get constructive feedback from editors. Beth, like me, has wanted to write for as long as she could remember. She believes that even though the pandemic has shown that working remotely is possible the media is still very London-centric. 

“When it comes to applying for journalism work experience or graduate schemes being from the North has been a disadvantage,” notes Beth. “These opportunities mean uprooting my life and moving to London, which has a much higher cost of living than the North of England. This is definitely an access and diversity problem in the media industry.”

“These opportunities mean uprooting my life and moving to London, which had a much higher living cost than the North of England.”

Beth Kirkbride

Beth also wants to see more paid work experience opportunities that allow Northern journalists to gain experience without having to foot their travel and accommodation costs themselves.

Lauren Mcgaun is a student with a passion for current affairs and the world around her. She echoes both Beth and Mads belief that there needs to be better work experience for people in the North. 

“I would also welcome more work experience applications that are CV based, which consider your journalistic skills and ability (similar to the current spectator scheme), so that your location and education doesn’t act as a barrier,” she says.

Shahed Ezaydi, is a freelance journalist and Deputy Editor for Aurelia Magazine. Although Shahed has always been fascinated by writing she never saw it as the career for her because she “never really saw someone like me in that world”.  

For Shahed, being from the North has given her a “unique voice in journalism”, as she explains: “Being a Northern woman means I can offer different perspectives or add more nuance and depth to a range of discussions, from race, religion, to local issues.” She continues: “You can always tell when an article or report that’s covering a Northern issue has been written by a journalist who isn’t Northern or who hasn’t lived in the North. I find it lacks the depth and substance.”

“You can always tell when an article or report that’s covering a Northern issue has been written by a journalist who isn’t Northern or who hasn’t lives in the North. I find it lacks the depth and substance.”

Shahed Ezaydi

However, she warns that she doesn’t want to get “boxed into just writing about identity or race and religion”, because “we as journalists (and people) are more than that”.

In terms of improving Northern representation, Shahed wants to see more roles moved up North, but recognises that that isn’t always possible. “Not every company can just move, so publications should also offer their roles on a remote working basis to recognise that not everyone is in a financial position that would allow them to move to London and live there long-term.”

Bethan McConnell is originally from Newcastle but relocated to London for University. “There always seems to be jobs central to London, in both music and journalism, so I figured that I would experience more opportunities and work if I lived in London,” she explains. 

Bethan is now a music journalist and photographer and runs Safe and Sound, a music and culture publication curated by creative women.  “For me, the most important thing is stepping up arts and culture funding in low-income areas, as those classes could inspire our next generation of journalists, musicians, and authors,” she says.

“There always seems to be jobs central to London, in both music and journalism, so I figured I would experience more opportunities and work if I lived in London.”

Bethan McConnell

Adding: “From my own experience the music education I received from school was the thing that motivated me to pursue this career path and without it, I’m not sure what sort of job I would be doing now.”

Evie Muir is a  domestic abuse specialist and freelance journalist. Evie began pursuing a career as a journalist because she felt there was a gap in reporting on gender-based violence. “From a survivor’s perspective, often stories telling our experiences of abuse, exploitation or assault are anonymised,” she says.

“As both a domestic abuse practitioner and survivor, it felt like “if not me, who?” I had stories to tell – my own included – I was angry, tired, passionate and, most importantly, informed.”

Evie became a freelance journalist through an unconventional route. “I studied Sociology and Gender Studies at undergrad level and International Development and Gender Based Violence at univeristy, and have worked in the Domestic Abuse Sector and Charity Sector more broadly for over seven years. So, I entered journalism as an expert in my field and used that to my advantage.”

When writing about topics that can be potentially triggering for you, Evie advises “putting coping mechanisms in place. If this means taking sick leave then do it”. 

Evie’s advice for women entering the industry is to find a support group. “I’d like to mention too that there is such a great network of Northern journos up here who I feel a deeper connection with than I do in more nation-wide networking groups – despite having not met many of them in person!”

“See the value in Northern stories and we will tell you them. Give us a platform to share the stage and we will speak with you.”

Evie Muir

She continues: “It feels like a very nurtured community with shared values of intersectionality, inclusion and the celebration of northern women voices.”

Evie wants to see an increase in remote working opportunities and she wants publications to take a closer look at the experiences of women in the North. “See the value in Northern stories and we will tell you them. Give us a platform to share the stage and we will speak with you.”

Speaking to these women is the best reminder of why I want to be a journalist. For the North to be represented we need people to start breaking down those barriers because where you are from should never negatively impact your future.

Extra Resources: 

The Northern Natter Podcast and Newsletter 

The Peak District Newsletter, filled with job opportunities up North!

The Indiependent 

Empoword Journalism

Journo Resources – a newsletter and website filled with paid job opportunities and career advice 


Words by Orla McAndrew. Orla is a writer and journalist from Leeds and the co-founder of Empoword Journalism, a woman-led project that looks to unite and empower journalists.

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. 

Getting to Know Kat Rose-Martin: Actor, Writer, and Inaugural Recipient of the Kay Mellor Fellowship

Words: Helen Brady

In early 2020, the inaugural winner of the Kay Mellor Fellowship was announced. The fellowship is a collaboration between Leeds Playhouse, Kay Mellor and her company Rollem Productions, and it will support a playwright over 12 months, encouraging them to develop their writing. There will be opportunity for an original idea for stage worked into a full-length draft on set and an original idea for a television pitch will also be created. Kay Mellor, OBE is a successful writer, actor and director, perhaps best known for TV series’ Band of Gold, Fat Friends and Girlfriends

Kay Mellor, Kat Rose-Martin and James Brining. Image: Anthony Robling.

The first winner of the Fellowship was Bradford born Kat Rose-Martin. Kat has worked as an actor for Northern Broadsides, Shakespeare’s Globe and York Theatre Royal, as well as having written and directed large scale immersive experiences nationally. Kat explained, “I’ve always written in the voices of characters before I really knew that script writing was a job. I started as an actor, trained at drama school and after a few years working in theatres, I knew that I wanted to write plays that I could relate to. Plays that my friends would enjoy.”

With the arrival of a global pandemic right at the beginning of what should have been an incredibly immersive and creative 12 months ahead, Kat explained if she had since felt any pressure to produce work in such a turbulent time, and if she felt that work had to respond to the current affairs of the time. 

“For me, it always starts with character and story. And there’s certainly a lot of pressure to make work about COVID but there’s also a lot of people saying, ‘make what you want to make’. Personally, I feel some of the survival pots of funding at this time should be less prescriptive – if you want to write about pandemics then great, if that’s not for you, also great. I think there should be no pressure either way – a lot of people have a lot to deal with right now, and we should focus our energy on getting through this.

“Personally, some days I find it really easy, others I need to take a step back and let my brain catch up with what’s on going. The audience appetite will always be a mixed bag – in the first few weeks most popular shows were Contagion and Tiger King – complete opposite ends of the spectrum. It’s hard to predict what an audience wants so it’s important to stay true to what you want to say. I’ve learnt that the hard way.”

Despite the circumstances, Kat was lucky to be able to continue with the fellowship remotely. “It’s certainly a scary time at the moment. Especially as an emerging writer with theatres closed and TV production on hold. The Kay Mellor Fellowship has been such a blessing in that sense. We’ve continued to work remotely, and it’s been a well-needed safety blanket – I would’ve really struggled without it. What’s interesting is that I’ve not had to travel to London as much for meetings with theatres and production companies which has saved me lots of time, money and stress. I’m hoping when Lockdown is over, companies will still consider meeting people virtually.”

Although the north/south divide is improving, there are still significantly more opportunities within the television and theatre industries for those based in London. An enforced shift in how theatres and productions companies operate due to the COVID-19 crisis has proven that remote working can be done, and this would be a welcome shift in operations that stays in place beyond the pandemic. Kat shared, “Everyone assumes you live in London or want to live in London. I’m more than happy in Bradford but it’s tough when I have to get a 6am train to go do four meetings on the same day and back home on the 8pm train then back to work the next day. London gets so much more funding than the regions. But things are changing, people are looking to hear more diverse, relatable stories. I look forward to the day when diverse is the norm and everyone can feel that they’re represented on stage and screen.”

Kat went on to say that although she does not intentionally set out with a ‘Yorkshire’ agenda, being from Bradford is a very important part of who she is and the stories she wants to tell, “There’s so many different people and stories across Bradford and Yorkshire that sometimes I need to get more specific about which postcode or street or neighbourhood a piece is set in because they can be vastly different and affect the story.”

Location is in part what attracted Kat to the Fellowship, which is a collaboration between Leeds Playhouse and Rollem Productions. “Both are on my doorstep and make work that I love. I’ve been to Leeds Playhouse countless times and performed there twice with Northern Broadsides. The spaces are great and the audiences generous. It seems like a natural fit for the work I want to make.

“And which Yorkshire female writer doesn’t want to work with Kay Mellor? I’ve always watched her shows and there’s so much that I can learn about story and about using your authenticity to say something important and making a long-lasting career in an industry that’s often unpredictable. When I found out that the KMF was a joint TV and Theatre development opportunity, I knew it was exactly what I needed. I want to work as much as possible in both industries and explore how they’re similar and how they differ.”

Coincidently, Leeds Playhouse is also one of Kat’s favourite places to perform and enjoy watching pieces by others. “I love Shakespeare’s Globe, I love Leeds Playhouse, I love theatre in non-theatre spaces. For me it’s about the connection between audience and the actors. And so much of that depends on the play, the production, the audience. But when there’s genuine connection between the action and the people experiencing it – that’s what theatre’s all about for me.”

2020 is quickly becoming one of the most challenging years for so many people. The unique set of circumstances people find themselves in means that unique types of support have had to be offered to ensure the survival of some of the North West’s most popular sectors. With the creative industries being made up of predominantly freelance individuals, it is easy for some of them to slip though the net and not receive any support at all.

Kat explained, “There’s lots of support from really wonderful companies who are doing the best they can. Bradford Producing Hub, Leeds Playhouse, Freedom Studios, to name but a tiny few. The Arts Council have handed out funding to companies and individuals. But it’s also really hard, there’s a lot of gaps to fall through and be left struggling. And there’s no doubt that the creative industries need bail outs that other industries have received. Once we’re up and running again, the entertainment sector contributes massively to the economy, but it will take longer and a lot of adapting to get to that point. So, until that time, theatres and TV Production companies need support.”

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.