Helen Cadbury was born in the Midlands and brought up in Birmingham and Oldham, Lancashire. She writes fiction, poetry and plays and is currently working on a sequel to To Catch a Rabbit. Currently she is a York based writer whose debut novel, To Catch a Rabbit, is joint winner of the Northern Crime Award and was launched by Moth Publishing , May 2013.
Have you always wanted to be a writer?
When I was five, I wanted to be a writer (although I couldn’t actually write), an actor or an ice cream man’s assistant. I enjoyed writing, once I got the hang of which way round the letters went, but got distracted by an acting career and didn’t really settle down to write until I was 40. I have never sold ice cream, so I have that to look forward too.
Would you say there are writers out there that everyone who wants to write should read?
I think anyone who writes should read good writers, in a range of genres. Occasionally read ‘bad’ writing, but not too often, as it will depress you that such a thing got published and may influence you in the wrong way. In crime, I would recommend Denise Mina, George Pelecanos, Mark Billingham or Louise Welsh for stylish prose, interesting characters and gripping plots.
What made you write a crime novel?
All the best stories are crime stories. Look at Red Riding Hood, for example. I started off trying to write what I thought was a literary novel, but once I began to pursue the idea of someone going missing, then the idea of a crime obviously presented itself.
What sort of research did you have to do to write /To Catch a Rabbit/?
I did most of the research towards the end of the writing process. When I had a full manuscript, I showed to a serving PCSO for feedback. I also went to a very interesting talk on forensics at the Harrogate Crime Festival, which led me to know what else to look for on the internet. I don’t do massive amounts of research but I did find a very useful YouTube video of a burning car, which was obviously more practical than trying it out myself.
What’s your creative process like? Do you need to be alone to write? Coffee shop maybe?
Agh! If only I had a routine or anything I could reliably call a process. I’m a bit nomadic actually, moving from the kitchen table, to my bed, to the library, depending on my mood. I find coffee shops are better for writing poetry, as I can get too distracted by what’s happening around me to stay in the world of a novel.
Was it a surprise to win the Northern Crime Award?
Yes. It was amazing. You hope for something, then it happens. The only other times I have felt quite so happy was finding out I was pregnant with my sons.
Do you think that writers, especially non-prize winners, need to be constantly going to signings and events to publicise their work?
I quite like public events, because I’m an extrovert, and I go quietly bonkers shut up indoors all the time, but some writers find them more difficult. I think it’s very hard to assess how worthwhile they are in terms of book sales, but I’m sure they help with word of mouth. If readers find it interesting to meet authors, then it is valuable. Social media may be more effective, but if you’re not doing any events, what are you talking about on social media? Where are the pictures to prove you exist?
How’s the sequel coming along?
The sequel is with my agent and making it’s way, I hope, towards publication, but it may still need a bit more work, we’ll see…
Do you have any advice for getting published? Such as important things to include in a query.
This is probably a whole different article in itself, but fiction writers need agents. Competitions or awards can really help you to get noticed and get an agent. If you’re writing directly to an agent, talk about the book. Like any exercise in selling, you need to show why it is unique and why they might want to represent your book. Consider small presses, they are more likely to publish an unagented writer.
What about more general advice for aspiring writers?
Writers write. And read other writers. And re-read what they write themselves, to get it right. You may not be able to keep up with all the films, TV series, parties that non-writers are into, especially if you are a fiction writer. It is very, very time consuming, but if you love it, you won’t care. Oh, and if you are not intending to be single for your entire life, fall in love with someone who loves you enough to put up with you being a writer. It will make you extremely anti-social and is very unlikely to make you rich.
Date: Monday 24th March
Time: 7.00pm – 9.00pm
Venue: York Theatre Royal, St Leonard’s Place, York YO17 7HD
Cost/Booking Info: FREE, please book at York Theatre Royal 01904 623568 or online: www.yorktheatreroyal.co.uk
Through narrative we can imagine how the future might be, we can dream of shiny bright possibilities or project into dark dystopian horrors. Through narrative we can transport ourselves forward and consider what the consequences of our actions now might be for our descendants yet to come.
This event will bring together voices from the arts, literature and social sciences to consider the role of narrative in thinking, imagining and potentially bringing into being a range of alternative futures.
Speakers for this event will include Professor Andy Miah (Director, Creative Futures Institute, University of the West of Scotland), Dr Liesl King (Head of English Literature, YSJU), Dr Abi Curtis (Head of Creative Writing, YSJU).
#2 Your character receives an email from an unknown sender with a subject line that reads “I can help you”. They open the email to find details of their weekend to come, plans that they themselves have made, and what is to happen during them. The sender also provides an address at which to find them should they wish to take up the help and wishes your character luck. Your character doesn’t like the sound of the details listed but shakes it off– how could anyone know about things that haven’t happened yet?
However, when your character carries out their weekend plans, things that they’d been informed of happening begin to. How does your character react? Do they go about their day convincing themselves that it’s merely a coincidence? Or do they eventually take up the help the stranger had offered? Who is the stranger? What things have happened that have driven your character to want their help?
Students who would like their work to be part of the student showcase in the York Literature Festival. The deadline has now been moved to: Monday 10th March. So you have more time to submit your work!
Submissions should be either poetry or prose and should be an interpretation on a given theme. The theme is:
“We are born in one day. We die in one day. We can change in one day. And we can fall in love in one day. Anything can happen in just one day.” (Quote: Gayle Forman – Just One Day)
Students can submit up to 3 submissions. Poetry should be no longer than a page in length and prose should be between 1000-2000 words. Students should be prepared to read their own work at the showcase, but we can provide some people to read your work for you, if you so wish.
We are a group of second year Creative Writing students producing a collection of poetry and prose to be sold at the CREATE event in May. This is an annual publication, celebrating the work of all graduating Creative Writing students.
If you are interested in submitting your work, our suggested theme is York. However, York is a preference and not prescriptive. We want people to get creative, so we welcome all submissions. Submissions should be sent by 31st March to firstname.lastname@example.org.
If you would like to receive more information regarding the anthology, or have any questions, please contact the email above.
We are a group of second year Creative Writing students producing a collection of poetry and prose to be sold at the CREATE event in May. This is an annual publication, celebrating the work of all graduating Creative Writing students. Therefore, we have opened up this exciting opportunity to art students. We are asking you to help us design the cover for the anthology publication.
This is a fantastic way to expand your portfolio, add to your CV, and get experience being a published artist. The anthology will be printed professionally, and will be sold at a YSJ event.
We have given the writers a suggested theme of York, so please could you reflect this in your designs. We would like you to get creative, so your designs can be in any medium, such as paint or photography.
Imagine a character who needs to forgive another. What is it they need forgiving for? Does forgiveness come easily to your character or not? If so, will they ultimately forget the issue ever existed? If it doesn’t come so easy, what hurdles do they face in coming to realise the other character needs to be forgiven? Or won’t they? Will they simply retaliate instead? See how the interaction plays out.
Jack Fallows is a comic book artist and illustrator from Newcastle Upon Tyne. He has been self-publishing comics for the last 12 years and reading/making them his entire life. He worked at the Travelling Man comic book shop for 5 years, where he founded the Paper Jam Comics Collective in 2007. Between 2008-2011, he delivered workshops in schools, libraries and youth centers teaching young people how to make their own comic books. This eventually led him to pursue a career in primary teaching. His work has been sold and exhibited internationally and his latest title Axolotl has been reviewed highly. For more information on his works, go to: http://jackfallows.com/
What inspires you most? Do you act on all inspiration or choose which ones will be worth it?
I consume quite a lot of art and I think that’s an important thing to do regardless of which creative sector you’re working in. I’ve had movies inspire my music, I’ve had paintings inspire writing, I’ve had music inspire comics etc. I find artists who care about their craft and who have something new to say most inspiring. But what motivates me to sit down and do things is really just looking back over the last thing I did and hating it. It sounds kind of cynical but being able to pick fault with your own output, striving to make it better and wanting to make sure it isn’t the last thing people see before you die really lights a fire under you.
If you do any contract work or commissions do you just do what they’ve asked for or strive for something inspired?
It really depends on the client. I do a lot of commissioned work in the local music scene here in Newcastle and that’s always a lot of fun. Lots of the bands and promoters know my work now and give me a lot of free reign to take the seed of an idea and put my mark on it. Because I teach full time now and don’t need the money as much as when I was self-employed, I’ve decided these are the only commissions I’ll be taking on for the foreseeable future now. It can get extremely arduous and self-deflating working with clients who are trying to get an end result from you based on work they’ve seen by other artists, without really considering your own merits or limitations. Unfortunately, even as a freelancer, you mostly have to subscribe to the motto of ‘the customer is always right!’
Have you ever started writing anything and changed it radically mid-way through because you’ve been inspired differently?
I don’t think I’ve ever sat down with an idea and stuck with it right until the end. Even the act of creating something changes it from an abstract notion in your head to a concrete thing in front of you. A lot of the time, I’m making decisions as I go, especially with illustration work and with prose. Comics don’t have quite as much leeway because you have to consider everything at the same time but they do constantly evolve and change. Is it okay to have multiple projects going at the same time?
For absolutely no reason whatsoever, I’ve spent most of my creative career under the assumption that it isn’t okay to have multiple projects going at the same time. In the last year or two, however, I’ve been trying it out and the results have been incredible. Instead of trying to plough through those not so enjoyable projects and really struggling to motivate myself, getting behind on deadlines, scolding myself etc. I’ve been balancing those out with other, smaller and easier jobs. That means all the projects are getting done faster and to a better quality, and I’m not going gradually crazy. I guess everyone works differently but I’d definitely recommend trying it both ways to see what works for you. Of course, the danger with taking on multiple projects is spreading yourself too thin and not being able to manage time properly. But as long as you’re sensible and keep dates and deadlines in mind, you should be okay!
How do you begin your writing/drawing?
It’s different for each project. With longer stuff like The Big Bang, I started by deciding on everything that needed to happen in an issue. Then I broke that down into events, pages, panels etc. Then I wrote a script for the whole issue and kind of did thumbnails as I went to make sure everything flowed okay. After that, I took it a page at a time and pencilled, inked, scanned and shaded each page in order, on A3 paper that would be reduced to A5 for print. But I found this really laborious so I’ve taken a completely different approach for my new (and I believe, better) title Axolotl. A lot of this, I’m making up as I go along. It’s an anthology of short strips, so I can dip in and out of each story depending on whether the ideas/motivation are there. This way, nothing is forced and I’m having fun doing it – which will always improve the quality of the output. I’ve given up on adding greyscale because I don’t think the results are worth the effort – at least not with my work – and I’ve been enjoying the challenge of making striking images in pure black and white. I’m also working entirely in A5 Moleskine sketchbooks now and drawing when I’m out and about in coffee shops and pubs etc. which breaks up the monotony of sitting at a drawing desk alone for 8 hours and gives the stories more context.
What about music, do you do lyrics or music first?
From time to time, I’ll be humming away and come up with a little song in my head that I’ll then set music to. But usually, I just mess around with different instruments and if a nice sounding riff or melody emerges, I’ll let the mood of that dictate what the song will be about and set lyrics to it. I love making and performing music but I don’t really have any idea what I’m doing, most of the time. Do you then use an editor to finalise your work?
When I’ve worked on anthologies, there has usually been editorial input. Alexi Conman worked as a co-writer and editor on The Big Bang but that was a very natural, collaborative kind of arrangement. If I’m self-publishing, I take complete, megalomaniacal, creative control over everything that happens. I think listening to and acting on feedback from peers is really important though, so I’ll often take works-in-progress along to the Paper Jam Comics Collective meetings to see what people think.
When you were younger did you decide to become a writer/artist/musician/teacher?
Since I was about 5 years old, I’ve always enjoyed writing and drawing and making comics and playing songs. I think everyone pretty much keeps doing the things that they enjoy for as long as they enjoy them and I’m still not tired of any of it. It wasn’t until I had to start thinking about GCSE subject choices and A-Levels and job prospects that I started researching ways to make money from any of it. While I was self-employed, I started running comic workshops for kids and realised that I loved the creative challenge of teaching and that’s what led me down that career path.
Should new writers accept working for free?
A horrible drawback to working in the creative sector is that unfortunately, yes, it is the industry standard for you to prove your salt for no money to begin with. That’s why it’s best to do this while you’re still in education so that you can make inroads and do some networking before you’re out there in the big wide world. I did a lot of free gig posters while I was at university and that’s why I’m being paid to do posters and album artwork etc. now. Writing and drawing are extremely competitive fields and getting yourself noticed is a big challenge. Equally, you need to realise your own worth and not be afraid to make that step into saying ‘you need to pay me for this service’ when the time is right.
Any advice for aspiring writers or students?
If you don’t enjoy writing or drawing or whatever it is you’re hoping to turn into your career, don’t bother. You’re setting yourself up to either fail or somehow succeed against the odds and be unfulfilled for the rest of your life. Enjoying what you do enables you to keep things fresh, stay motivated, meet deadlines, improve your craft and put out the kind of work that people want to pay you to do. The worst thing that can possibly flash into your brain is ‘Hey, this seems really popular and lucrative, maybe I’ll give it a shot’. I often meet people new to the comics scene, who have seen a handful of superhero movies and come to conventions with an idea for a 500 page graphic novel. You need to take the time to understand what you’re getting yourself in for before taking a dive as big as that otherwise the rejection can be really discouraging. Dip your toe into lots of things and figure out what inspires you the most.
A long time ago you told me that things get so much better after high school. When would you say are your best years?
Hopefully I’m yet to have them! My school years were pretty rough but everyone has different experiences. I think I might have just been listening to ‘You Were Cool’ by The Mountain Goats a lot when we had that conversation.
How do you market your self-published works?
I go to comic conventions, get work stocked in comic shops and use Twitter, Tumblr, Instagram, Facebook, Etsy and my own personal website online. I’m very proud to say that the comic scene is extremely welcoming of new-comers, so don’t be afraid to use any of these avenues if you’re looking to get involved.
For more of Jack’s writing, artwork and music, go to http://jackfallows.com/