Category Archives: manchester

Episode 7 – The perils of live performance


In this episode, Rob talks to David Hartley and Ben Judge, two seasoned literature performers about the ups and downs of performing your work live. We talk about Dave’s new night Speak Easy, Ben’s stint as a Not the booker prize judge and evil evil coffee machines. Ben was (sadly) not available for the photo sesh so we did the best we could. Recorded live on Pomona island.


Namechecks: Paul McVeigh, Tania Hershman, Jo Bell (again), Ambit magazine, Unsung, Not the booker, Sam Jordison, Adam Marek (again), Claire Dean, Nightjar (again), Socrates Adams, Trish Starbrook, Didsbury Arts Festival, Chorley Arts Festival, Joy France, Fat Roland, Lancaster Lit Fest, Bad Language (again), Verbose, First Draft, National Flash Fiction Day, Sarah-Clare Conlon (again) and Tom Mason… phew

Episode 5 – The Kevin Bacon of the NW writing scene


In the Christmas episode, Rob talks to Publisher/editor/writer/MA tutor/fine hat wearer, Nicholas Royle, about short stories, getting published, Doppelgangers, Bad sex and (weirdly) The Smiths.

Special appearance by shit Parkour artists.


Namechecks: Michael Marshall Smith, Tom Fletcher, Alison Moore, Stephen King, Comma Press, Salt Publishing, Keiren Devaney, Stephen McGeogh, Ron Butlin, Kerry Hadley-Price, Ian Parkinson, John Oakey, Joe Stretch, Literary Review

Episode 4 – The P Word


Rob gets poetry schooled by Ella Gainsborough and Kieren King, the people behind Evidently aka Salford’s best poetry night. They, along with poet Jack Dixon talk Prison poetry, tapping that sweet poetry coin and math rock. Photo credit: Guy Garvey.


Namechecks: Monkeypoet, John Cooper Clarke, Guy Garvey, Big Charlie Poet, Trevor Meaney, The Eagle Inn and MacGuffin.

Episode 3 – David Gaffney and Clare Conlon


In this podcast, Rob talks to the nicest (and certainly most well turned out) couple in the Manchester Literature scene, David Gaffney and Sarah-Clare Conlon. They discuss Les Malheureux, Clare’s literature night Verbose, David’s latest projects (including a trio of novels… exciting!) and using music and graphic art in your on stage reading. They also get into what makes a good short story, what it’s like having your partner critique your work, and… oh yeah, coffee tables.

Listen to it immediately. And why dontcha subscribe while you’re at it? See that little musical note thingie up by my horrid face? That’s the itunes logo. CLICK IT.


At the end I talk about an article the author, Adrian Barnes has written on the Daily Beast entitled My Cancer is as Strange as my Fiction.

If you are a writer in the North West of Engerland and want to be on it, email me or tweet me @endofallpodcast


Episode 2 – Nija Dalal-Small and Fat Roland

fats and nija

What makes for a good performance? Is the Manchester literature scene too cliquey? Is it too white and mannish? But most importantly, Is blogging dead?

Fat Roland (Bad Language, the UK’s best literature night) and Nija Dalal-Small (The Real Story and In the Dark) weigh in.

Listen to it immediately. Oh yeah, and subscribe why dontcha? See that little musical note thingie up by my face? That’s the itunes logo. CLICK IT.


If you want to be on it, email me or tweet me @endofallpodcast


Rob Cutforth, Kate Feld and Abi Hynes

Episode 1 – Kate Feld and Abi Hynes

Kate Feld and Abi Hynes (I call her “Abi Faro” in the podcast because that’s what her twitter handle is) are Manchester writers who host the popular Live Literature nights The Real Story and First Draft in Manchester, UK. They talk to Rob about Feminism, Sex, Performance and trying to eke out a living as a writer in the 21st century.

This podcast was recorded on the roof of the Manchester Literature Festival the 17th of October 2015. It’s the first one, so all comments or questions are welcome.

Here, let me get you started:

Question 1: Why does the beginning bit sound like Rob is recording from the inside of a baked bean can?
Answer: Erm… it’s art?

Question 2: Why does Rob sound like an even camper Greg Proops?
Answer: Fuck. You.



Do you want to be in the next podcast? Tweet me @robcutforth

David Mitchell at the Manchester Literature Festival


Festival Blogger Robert Cutforth takes an unconventional approach to reviewing the David Mitchell event at RNCM: an imagined letter from the author to reviewer

Dear Robert,

Or is it Rob? I know you folksy Canadian types have a penchant for hypocorism (You called me “Dave” in your letter) but I find doing the same gives me indigestion. Oh, what the hell, I’m at the end of my press tour for The Bone Clocks so I’m feeling cheeky. Rob it is.

In your letter, you mentioned that you saw me reading from The Bone Clocks at the RNCM, but because your portable recording device died, you can’t remember a thing I said and thought it might be useful if I wrote you to repeat everything I said during the talk. It was an odd request—not to mention rude—but as I say, you’ve caught me in a good mood.

In particular, you wanted me to go over (for a second time) what makes a good character. As I mentioned last Thursday, I write letters to myself from my characters in order to get to know them better. They tell me about their formative childhood experiences, things they think about, class, ambition, money, all that sort of thing. A writer must do more than simply observe his characters, one must inhabit them. Also, it doesn’t hurt to be a bit meta, does it? I’m asking you a question. You. No, not Robert, you, the person reading this blog post. I am talking directly to you. Hi. Nice shirt.

What other things? Oh yes. Treat your regular readers with a good deal of respect and reward them for their loyalty with little bits of what I call “mental furniture”. I know you’ve only read one of my books (the big one) so this doesn’t apply to you… in fact, why am I writing to you again? Ugh, nevermind, I’ve come this far, I may as well finish… Mental furniture is the stuff crammed into my anti-Tardis-like brain that can’t help but find themselves into all my books. Talking Heads, Alain-Fournier, cats etc. There is nothing wrong with giving a bit of yourself to your readers; you’re an artist after all, not a mechanic.


Don’t get upset when you’re compared to Murakami or been outed as a massive fan of Dr Who. Embrace the backhanded compliment “storyteller” the snooty types will put on you for writing anything a bit “out there”. Wear your Booker losses like badges of honour.

When doing a reading, leave them on a cliffhanger. Which reminds me… I have a book out. It’s called The Bone Clocks. It’s similar in style to my other books in that it’s a bit epic, but delivered in digestible chunks, it treats time like an infant’s plaything and well, you’ll just have to read it to find out more.

I hope that jogs your memory a bit, next time perhaps instead of attempting to illegally record my talk, you bring a pad and pen.



PS If you write anything in your piece about Crispin Hershey even remotely resembling Martin Amis, I will kill you.

Will Self at the Manchester Literature Festival


Robert Cutforth reports back from the Northern Lights Writers Conference at Sale Waterside, where he has an unsettling encounter with Will Self…

The Northern Lights Writers Conference starts pleasantly enough with writers Joanna Kavenna and Jo Bell discussing the difficulties in extracting money from people who ask us to write something for them. It’s tough out there, new writers, but not impossible. You simply need to lower your expectations, be willing to make an arse of yourself and do the odd bit of lecturing or burger flipping to avoid the breadline. It’s a bitter pill for most prospective writers with JK Rowling-style delusions of glory to swallow, but it is very useful advice and delivered with a “hey, we’re all in it together” kind of spirit that leaves us with a modicum of hope.

And then a man who is clearly undead wafts onto the stage.

I don’t mean the gaunt, altitudinous figure before us is a vampire in the metaphorical sense, no. It took me precisely one second to determine with extreme certainty that this man spends his days sleeping in a coffin and his nights flying above the streets of Whitby looking for living things to eat. Behold, William Woodard Self, the destroyer of worlds.

He begins his talk by asking genre fiction writers to identify themselves. Proud hands go up. Having read some of Self’s fiction beforehand, I suspect it would be unwise to raise my hand despite the fact I’m writing my second novel that just happens to have post-apocalyptic Manchester as its setting. I am right to be suspicious. “I have nothing to say to you,” he says and snaps his fingers. The fools with their hands aloft vanish in puffs of foul smelling smoke.

For the stunned few of us who are left, he has some practical advice: Ostinato Rigore which he says means “constant rigor” but I am pretty sure is some sort of spell. He elaborates. Ostinato Rigore in the writerly sense means to keep busy. Write anything and everything you can, especially when first starting out. He proves his devotion to Ostinato Rigore by regaling us with tales of his early days writing questions for pornographic board games and ghostwriting Ronnie Biggs’ joke book. I laugh and allow a single buttcheek to unclench.


Sensing we are warming to him a bit too much, Self shakes a bat out of his cloak, draws a graph on a whiteboard that illustrates his tumbling sales figures and proclaims the death of the novel as an art form is nigh. I re-clench.

A woman asks him what a young writer is to do if their chosen vocation is indeed on the brink of extinction. “I would look into a different medium,” he says and produces a flawless human femur from his back pocket. With a flick of his wrist, the femur hurtles through the air and finds purchase in her left eye socket with a distinct ker-chunk. Self blows a disinterested raspberry into the microphone as her head rolls down the stairs.

After lunch, he reads a particularly cheery excerpt from his new book, Shark, that centres on a delirious sailor as he floats amongst the wreckage of the USS Indianapolis with his dying comrades. While singing an American folk song, the protagonist unlatches another sailor’s life jacket and watches the boy slowly disappear into the shark-infested deep.

A journalism student accidentally misquotes Self whilst asking a question. Before the last word leaves his lips, Self leaps from the stage and promptly chainsaws the student into bite-sized pieces and stuffs them down his throat one after the other. His jagged Adam’s apple jumps and clicks with each gulp gulp gulp. As he dabs the chunks of bloody student from the corners of his mouth with a silken hanky, he suggests aspiring journalists should perhaps get their facts straight before asking stupid questions.

Trembling and suffering from a debilitating case of Stockholm Syndrome, I approach the man afterward and ask him to autograph my copy of Shark. To break the icy stillness that descends as he scratches his name onto the title page in phlegm, I ask his opinion on MAs in Creative Writing. He has already implied that the genre in which I write is silly and that long form fiction in general is toast, so why not go for the trifecta and have him ravage my academic choices as well?

He arises from his seat, takes me in his arms and twirls me about the room. A tuxedoed string quartet appears from behind the bar, playing The Blue Danube. The floor falls away and everyone but us plummets screaming into a pit of fire. Faster he spins me above the flames, his terrible eyes focussed on something out the window, his terrible mouth tutting my crap waltzing technique. “Come on, man, one two three, one two three…” I am terrified and enraptured in equal measure.

As the fire snuffs out the cellist’s final note, Self dips me. “An MA in Creative Writing is a waste of time,” he says and brings my face so close to his that I expect to feel his hot breath, but there is none. “Stretch yourself by getting a proper degree, like philosophy” and plunges his fangs into my neck.

Sounds from the other city

I have been to Salford exactly three times and always by accident. I suppose that’s odd considering Salford is precisely 2.1 miles from my front door (thanks Google Maps) but I just never felt the need to go there. On purpose.

The area around Chapel St has been described to me as an “ungentrified Northern Quarter”, and if you think about it, it is quite like Manchester’s Northern Quarter except that it is nothing like it at all. The Northern Quarter has bars with DJs, gourmet burger joints, music venues, art galleries and craft beer shops. Salford has a Premier Inn with all the letters in the sign burned out, a pub off Coronation Street and a boys home you can cycle around like him from The Smiths. Salford has beards like the Northern Quarter, but unlike a well-coiffured NQ beard, a Salford beard has things in it. Like fluff. Or chips.

Only a music festival in a place as odd as Salford could you see a band called Kult Country in a pub called The Old Pint Pot, or Grumbling Fur in an old mill. Only at a Salford festival could an active parish church be home to ambient techno. There is an actual tent as well (just so you know it’s a festival), but I imagine it exists solely as a place to self-righteously tut. Yech, a tent? So Glasto.

With a festival as bonkers as this, I thought it might be a good idea to do some research. For you. I had big plans. I was going to listen to every band and create a fancy infographic, dividing the acts into tidy genres so you could decide in which venue you should plonk yourself down and at which time. A good idea, right? It was impossible.

How do you classify a band who does Spanish surf rock, punk and dub all on the same album (Las Kellies)? Or a band with a name that is unpronounceable (ZZZ’s)? How do you classify a band who has yet to release an album or who are in fact not even a band? How do you classify an activist? It’s really annoying for an OCD, data dork like myself; that infographic was gonna be awesome. With bespoke images and everything.

Mark Carlin, SFTOC head honcho describes it thus:

”We tend to favour promoters and programmers that are blurring the lines between disciplines, be it art, music, theatre, film; so rather than having music in one place, visual art in another place, theatre in another space, we really enjoy when they all meld together as in one in chaotic cross section.”

Music is in a strange place at the moment. The pop juggernaut that is currently steamrolling everything is making it difficult for anyone without electric teeth or a push up bra to get on a festival stage, so it is nice to find a festival that hasn’t a single act I’ve heard of on the bill. A festival with an eclectic mix of underground acts, artists, producers and venues. A festival in a city 2.1 miles from my house (or a quick train ride from Liverpool).

One thing is for sure, this is not a festival for planning ahead. No lists, no diaries, no apps required. Like the city itself, this is the festival for flipping coins and hoping for the best. This is a festival for winging it.

Published 1 May 2014 by The Double Negative.