Appendices

Established in 1996, New Writing North is the writing development agency for the North of England. Working from a base in Newcastle upon Tyne our team of 23 staff produce talent programmes, awards and prizes, innovative work with young people and communities and festivals and events. We specialise in identifying, developing, and promoting writing talent and act as a dynamic broker between writers, audiences, readers, and producers across the creative industries. Strong, creative partnerships are at the heart of everything we do. We work with leading brands including Channel 4, the BBC, Sky Studios, Hachette UK, Faber and Faber and with universities, and cultural partners across all art forms. We are currently developing a capital project to create a new Centre for Writing in Newcastle upon Tyne.  

A writer survey gathered current views on the status of the literature sector in Leeds. Questions covered topics relating to how writers sustain and develop their creative practice, what resources, and connections they draw on, existing collaborations, access to funding, professional and creative development needs, and ambitions and wants for the literature scene in Leeds. A combination of question type has allowed us to collate both quantitative and qualitative data from the survey.  

The survey was open from 5 April to 5 May 2023. Respondents could choose to either submit their responses anonymously or agree to provide their names and email addresses so they could be contacted for further interviews or regarding attributing quotations to a specific individual. Otherwise, all data collected would be anonymised.  

The survey was shared to an email list of 212 writers created by New Writing North which included past Northern Writers’ Award applicants and winners based in Leeds and the West Yorkshire area. The survey was circulated using Campaign Monitor. There were 40 respondents to the survey with 33 agreeing to be contacted for further interviews.  

57% of respondents stated that they undertook most of their work as a writer in Leeds. The remaining 43% mostly stated that they operate in the wider West Yorkshire area –  

primarily Bradford, as well as Hexham, Oldham, Huddersfield, Ilkley, York, Harrogate, Doncaster, Garsdale, and online.  

Respondents mostly wrote short stories (25% of respondents stated they wrote short stories) and novels (22%), with other common forms being poetry (13%), creative non- fiction (12%), and spoken word (8%). Other forms included writing for online platforms (7%), theatre (4%), journalism (3%), writing for films (2%), writing for TV (2%), podcasting (1%), writing for radio (1%), copywriting (1%), and non-creative non-fiction (1%). *  

Most respondents stated that they are working towards earning money from writing (45%), with the second largest group stating that they get paid for writing some of the time and combine this with other employment (33%). Very few respondents identified as full-time writers (5% identified as a full-time writer earning from published works, and 7% identified as a full-time writer with a portfolio career). 10% of respondents see writing as a hobby. This suggests that most of our respondents are working towards a writing career, but very few can fully support themselves financially through their writing.  

Those who undertake paid employment for their writing were asked to specify where they make their income from. Respondents mostly make their income from publication, commissions, or production (26%), with other primary sources of income coming from undertaking events and readings (14%) and delivering workshops in schools or communities (13%). Other paid work included mentoring other writers (8%), proofreading, or editing (8%), commercial or other kinds of professional writing (8%), and teaching in universities (7%) Other responses mentioned prizes from writing competitions, online publications, self-publishing, and royalties from academic book publishing. 9% have not yet undertaken paid work for their writing. *  

Those who undertook paid employment for their writing were asked to list which organisations were their most regular employers as a writer. The resulting list of organisations were incredibly varied, with no single organisation appearing more than once, and some respondents noting that they do not have any regular employers. This suggests that employment in the writing sector in Leeds is generally quite sporadic, with no key employers that regularly offer paid writing opportunities.  

Most respondents stated that they have undertaken some form of training to develop their writing or writing career. The majority received training through a writing specialist organisation (24%), with other training including community-based provision (16%), postgraduate study (13%), undergraduate study (11%), courses or workshops offered by festivals (11%), local colleges (4%) and local libraries (3%), with 11% stating they have undertaken other kinds of training, such as online courses, TLC mentoring, The Leeds Library workshops, Sky Studios Sky Writes, BFI, training from professional bodies such  

as CIPR and ProCopywriters, and peer critique and development at local writing groups. *  

This suggests that most respondents are interested in accessing opportunities for creative and career development. This is further supported by responses to questions about potential avenues of support and development for writers: when asked about the possibility of professional development through courses and masterclasses, 53% stated that this would make a big difference to them as a writer, and 25% stated that they would be interested. 12% were moderately interested, and only 10% were not at all interested. When asked about the possibility of advice and support to develop business skills to help them make a living as a writer, 40% stated that this would make a big difference to them as a writer, 25% stated that they would be interested, 23% were moderately interested, and only 12% were not at all interested.  

* For this question, respondents were allowed to select multiple responses.  

Nearly half of respondents stated that they have not tried to apply for funding for their work (48%), with 17% stating that they have tried but were unsuccessful. 9% stated that they have received a grant from a Trust or Foundation, 4% have received a DYCP grant from Arts Council, 4% have received a Project grant from Arts Council, and 2% have received a grant from Leeds City Council. 9% stated that they have received funding from another source (New Writing North, Leeds Art Fund, Society of Authors and AHRC funding), and 7% stated that they fund their work in other ways, such as through employment or own resources. *  

During our interviews, many interviewees noted that sourcing information about funding was a concern that prevented them from applying, as was a lack of self- confidence in their ability to formulate a successful application, and the amount of labour required to submit a funding application. There appears to be a demand for both funding opportunities and communication about those opportunities, along with support and guidance on how to put together an application. This is further supported by the responses to the question on potential opportunities and support in the region: when asked about the possibility of advice and support to access funding for their work, 60% stated that this would make a big difference to them as a writer. 18% stated that they would be interested, 22% were moderately interested, and 0% were not at all interested.  

Respondents were asked a set of questions aimed to gain a clearer understanding of how well-connected writers feel in Leeds and the wider area. They were asked to select  

one response regarding the following statements: “I feel well-connected to other writers”, and “I feel well-connected to the writing industries”.  

Most respondents stated that they feel moderately well-connected to other writers but would like to be better connected (55%), with 27% stating that they are not well- connected and would like to be better connected. 18% stated that they felt well- connected with other writers, and no respondents stated that connection to other writers is not a priority for them.  

When asked about the possibility of opportunities to network with other writers, 42% were interested, and 38% felt that this would make a big difference to them as a writer. 15% were moderately interested, and only 5% not at all interested.  

This suggests that there is a degree of connection between writers in Leeds and the wider area, (as evidenced in the scope of activity section) but that there is an appetite for further development of connections and networks.  

For the second statement, most respondents stated that they do not feel well-connected with the writing industries and would like to be better connected (55%). 40% feel moderately well-connected to the writing industries but would like to be better connected, 3% stated that they felt well-connected with the writing industries, and 2% stated that connection to writing industries is not a priority for them.  

It suggests that there Is a much lesser sense of connection of writers with the writing industries in Leeds and the wider area, and that there is a clear demand for connection and links to the writing industry, such as agents, publishers, and presses.  

This demand is further supported by the responses to questions about potential possibilities for opportunities in the area: When asked about the possibility of opportunities to network with industry professionals, 70% stated that this would make a big difference to them as a writer, and 20% stated that they would be interested. 8% were moderately interested, and only 2% were not at all interested.  

Writers were asked about their activity over the past year to ascertain their engagement with writing networks, activities, and events in Leeds. The most common activities were submitted to a writing competition (20%); socialised or communicated with other writers online (18%); attended a writing festival, workshop, or event (17%); and share work with peers for feedback (16%). Other activities included published work with a publisher, magazine, or anthology (13%), attended a writers’ social group (12%), received direct support from a writing development agency (3%), with other activities including self-  

publishing. All respondents selected at least one activity, suggesting that all respondents are actively involved in writing communities to some degree. *  

To gauge what kinds of activity might be of interest, respondents were asked to rate potential opportunities and support on a scale of 1-4 to demonstrate how beneficial they would be. When asked about the possibility of opportunities to share work informally for feedback, 58% stated that this would make a big difference to them as a writer, and 17% stated that they would be interested. 10% were moderately interested, and 15% were not at all interested. Those who were interested in these opportunities were asked to further specify – popular suggestions included mentoring (55% of those who were at minimum moderately interested selected this option as something they would be interested in) and having a supportive group of peers (50% of those who were at minimum moderately interested).  

When asked about the possibility of opportunities to find audiences or readers for their work, 70% stated that this would make a big difference to them as a writer. 15% stated that they would be interested. 10% were moderately interested, and 5% were not at all interested. Those who were interested in these opportunities were asked to further specify – popular suggestions included opportunities to perform at public events (47% of those who were at minimum moderately interested selected this option as something they would be interested in) and work in progress nights (39% of those who were at minimum moderately interested).  

When asked where they find opportunities for writers in Leeds, respondents mostly noted that they find information online. However, there was no single main source from where respondents access information. Some mentioned Twitter, Facebook, Instagram, LinkedIn, and social media in general, as well as email newsletters such as from The Bookish Type, Chapel FM, Furnace, Script Yorkshire, New Writing North, Mslexia. Others mentioned Leeds-based resources such as Leeds City Library, Leeds’ Writers’ Circle, the Northern Short Story Festival, Big Bookend. Others mentioned through word of mouth or via peers, as well as websites such as BBC Writers Room.  

The variety of responses suggests that there is a lack of centralised information about opportunities for writers in Leeds. During interviews, many writers expressed a desire for a centralised hub, either online or physical, that could collate the ongoing events and opportunities available for writers in Leeds.  

A survey was also circulated to literature organisations to ascertain their views and experiences of the literature sector in Leeds. This was initially sent out via Campaign Monitor to 28 recipients and follow up emails were sent directly to 17 recipients. There  

were 9 respondents to the literature organisation survey. Respondents to the survey included a variety of types of establishments, including writers’ circles, literary prizes, venues that host literature-related events, and film development agencies.  

We conducted a series of interviews face-to-face and via video conferencing with writers and organisations.  

Our interview list consisted of a diverse array of writers operating in various forms, including fiction, poetry, theatre, spoken word, and film. The writers we interviewed were at various stages in their careers and had a diversity of experience with working in the writing sector in Leeds.  

An initial interview list of key writers operating in the area was generated based on general knowledge, internet research, and communication with local stakeholders. We also contacted a selection of respondents from the writer survey who had agreed to be contacted for further interviewers.  

We identified the literature organisations operating in Leeds and the surrounding area through internet research and communication with key figures and stakeholders in the area. We added to the list throughout the research process as interviews and research revealed further information. We interviewed a broad array of organisations operating in multiple parts of the city, with a variety of output, activity, and reach.  

The interviews allowed us to delve deeper into the activity and opinions of key players and stakeholders, giving us more insight into the literature sector in Leeds. Our approach was to ask a set of standardised questions, whilst encouraging interviewees to delve deeper into certain topics based on relevance to their experiences. Interviews lasted around 1 hour and were conducted in person, over Zoom, or over the telephone. Follow up questions or additional information was communicated via email. Participants were provided a brief overview of the consultation and the intent of the interviews when contacted.  

Respondents were asked to name the top three things that would help writers to flourish in Leeds.  

Respondents showed interest in having greater networks, giving people opportunities to come together with both peers and industry professionals, ensuring that these were easily accessible to people just starting out, and possible opportunities for mentoring,  

There was also interest in more opportunities for writers, such as paid employment, Leeds-based writing competitions, Leeds-based literary journals, or a local council- funded small press.  

There is an appetite for further training and development, with suggestions including workshops (with other writers, publishers), training opportunities and professional development.  

Respondents discussed the importance of funding, both having access to funding opportunities and having access to information and guidance on what they are eligible to apply for and how to put together a funding application.  

Respondents noted the need for greater connectivity, particularly links between the universities and other writing organisations in the city, and across the various writing groups within the city.  

There was a suggestion of having a physical space in the city for writing, such as a literary arts centre which could host local and visiting writers to give readings and run masterclasses, a space to network and book out space to write, a space to get advice on career development. Similar venues provided as examples include the Burgess Foundation in Manchester, and the Bradford Producing Hub.  

There was mention of the need for more events in the area, such as a regular literary night (with both bigger names and local emerging writers), open mics, community led writing groups. There was also mention of the importance of ensuring that local emerging writers are involved in major events, and existing events/festivals having a wider scope and being advertised more widely.  

Respondents also mentioned the need for events and activities to be more accessible, whether via being geographically accessible (events being central or providing better public transport), by ensuring that events do not have any financial barriers, or making things accessible online for those who cannot attend in-person events. There was emphasis on the importance of ensuring a greater understanding of the challenges disadvantaged groups might face in the writing industry, and the importance of ensuring that the writing industry reflects the diversity of the city.  

Finally, respondents were given the opportunity to share any final comments about the writing scene in Leeds and West Yorkshire. Respondents commented on its sense of feeling flourishing but fragmented; a lack of opportunities, particularly for working class writers a; a sense of it feeling inaccessible; its strong literary heritage; concerns over larger organisations not acknowledging the work of grassroots organisations; not knowing where to look for opportunities; a lack of paid opportunities; a need for greater diversity; a need for greater visibility of the scene and events.  

Face to face meetings took place in person and online with the following people and organisations:  

Funders and Stakeholders  

Arts Council England (Stephen May)  

West Yorkshire Combined Authority (Frances Burkinshaw, Jim Hinks)  

Organisations  

Arvon Foundation (Rosie Scott, Helen Meller)  

BookTrust (Diana Gerald)  

Bluemoose Books (Kevin Duffy)  

British Library (Jamie Andrews)  

Chapel FM (Tony Macaluso)  

First Story (Ali Johnson)  

Hyde Park Book Club (Jack Simpson)  

Leeds Libraries (Andrea Ellison, Stuart Hennigan)  

The Leeds Library (Carl Hutton)  

Leeds Lit Fest (SJ Bradley, Fiona Gell)  

Leeds Poetry Festival (Poppy Jennings)  

Leeds Writers’ Circle (Bob Hamilton)  

National Poetry Centre (Matthew Pepler)  

Peepal Tree Press (Hannah Bannister)  

Writing on Air Festival (Peter Spafford)  

Higher Education Bodies  

Leeds Art University (Sean Gregory)  

Leeds Beckett University (Susan Watkins, Alison Taft)  

University of Leeds (Wieke Eringa, Hazel Hutchison, Erica Ramsay, Caitlin Stobie, John Whale)  

Brotherton Library at University of Leeds (Josh Sendall)  

Writers  

Becky Cherriman, Sarah Dodd, Stuart Hennigan, Khadijah Ibrahiim, Sam Lawrence, Jacob Ross, Rommi Smith,  

Joe Williams  

New Writing North would like to thank Newcastle University and the Northern Bridge Project that supported Sarah France’s PhD placement with New Writing North, and which enabled her participation with this research project.  

New Writing North acknowledges the support of Arts Council England. ACE LOGO Report Design: Jude Lowes for New Writing North