Nick Quantrill has become a good friend of mine from Hull and is a big name in the literary scene up North – which is how I came to meet him. He is author of the Joe Geraghty trilogy published by Caffeine Nights Publishing and runs and attends a number of literary events in and around Hull. He’s successful and always likes to help others around him – me included – find opportunities to become more involved in the literary scene. He is the man who helped give me the opportunity to work on the BritCrime online literature festival. He is a lovely man and a talented writer. Below he discusses Hull, literature and crime writing…
Please introduce yourself and give a brief overview of you career.
I’m Nick Quantrill and I’m the writer of the Joe Geraghty trilogy, a series of crime novels set in Hull. Geraghty’s a former rugby league player turned Private Investigator and the books see him deal with a variety of issues. “Broken Dreams” is about the way the death of industry is still being felt in the city, “The Late Greats” sees him babysitting a reforming Britpop band and “The Crooked Beat” takes him into the murky world of smuggled cigarettes. May 2016 sees my fourth novel, “The Dead Can’t Talk”, published. It’s a Hull set crime novel, but with different protagonists.
What motivated you to move away from your previous job and into writing?
I only gave up my day job to write because of the birth of my daughter. After fainting at the price of a nursery place, I thought I’d combine looking after her with writing. How hard could it be? Turns out it’s pretty testing, but also a great opportunity. Of course, writing is my passion and what I want to do even though it’s incredibly difficult to build a career. Maybe I’ll have to get a day job again at some point, but it won’t stop me from writing.
You’ve become very popular and active in author and book events. Why is doing this so important? How has it helped you with your own career and networking?
Unless you’re with a large publisher and a priority for them, it’s all about being visible as an author and discoverability. Getting out into the real world is a great way to achieve that. It’s helpful in many ways, mainly because I’m directly connecting with readers. Beyond that, events and festivals are a great way to meet fellow writers and professionals. It feels like a snowball effect. Once people know your name and face, the more likely it seems you are to be asked to do more things. Lastly, and certainly not least, talking to real people is thrilling when you spend most of your day chained to a laptop!
How did you come to be involved in the BritCrime Festival and what was the most enjoyable part for you? What do you think we can learn from the experience?
I was lucky BritCrime was such an open and welcoming festival. Helen Smith, the organiser, sent a message out to see if other writers wanted to join her and I replied, realising it had the potential to be really interesting. Helen put in a huge amount of work and led the way, but it become a collective effort with the writers involved getting stuck in the promotional side of things. I really enjoyed taking part in my allocated panel, “Crime in the City”, but running the Facebook page for a spell was an education. What I took away from it was the power of the internet. It’s great to go out to festival and libraries, but readers may have many reasons for not wanting to attend such events. This was free and accessible in a different way. I think we’ll see a lot more of this in the future, as writers and readers use different technologies to connect.
Tell us a little bit about your books – how did they come about? Have they been well received?
As a crime writer, my first instinct when I decided to write a novel was to invent a police officer. It’s an enduringly popular way of doing things, but I quickly learned from a failed novel that it wasn’t for me. We have writers like Eva Dolan, Sarah Hilary and Luca Veste who are pushing that sub-genre in interesting directions, so I invented a Private Investigator and immediately felt more comfortable. My take on it was that he couldn’t be anything like the American archetype. He doesn’t have a string of femme fatales walking into his office and nor does he wise crack his way out of difficult situations. I also decided the crimes he’d investigate would have to ring true in an isolated an unloved northern city. I hope I can say my novels have been well-received by readers and peers, but as a writer I’m satisfied that each book shows a progression and more skill.
Why do you choose to set your books in Hull? How important is it for you to establish a literary scene in Hull?
Simply because it’s my home city and I want to understand it. When I started writing in 2006(ish), it felt like very few people were exploring the place on the page. At the time it was the country’s reigning ‘Crap Town’. Since then, the city has transformed to the point it’ll be UK City of Culture in 2017. It’s an amazing backdrop to have as a writer. I think the rise in the number of writers active in the city has been both organic and engineered. The council have put money into things like ‘Head in a Book’, a monthly literature night which allows a local writer to interview a high-profile guest. It deserves credit as it’s really built an audience and helped people like me develop new skills. I certainly want to be an active member of the literary scene in the city and that means giving as well as taking. I’ve been fortunate to receive help when I’ve asked, so I want to pay that back if I can.
What do you enjoy most about being an author, and what are the challenges?
I enjoy it all. It’s a privilege to be published, it’s a privilege to be invited to places to talk, but most of all it’s a privilege that people choose to spend their time reading my work. It’s mind-blowing, really, when I stop to think about it. The biggest challenge is finding readers, that sense of discoverability when there are so many other good writers out there. It’s not easy, but being generous and enjoying being part of the crime writing community (writers, readers, bloggers etc) goes a long way.
What are the benefits of publishing with a small press?
I think the major benefit is the closeness of relationship you enjoy, the sense that you’re fully involved in all the important decisions. A small press has to be nimble and lean, but they can’t afford to make mistakes. Their titles have to succeed and that means you’re all on the same page. It’s not the only way, of course. I know of writers with big publishers and their experiences range from terrible to excellent. Also, I know writers who have embraced self-publishing. It’s about what works for you.
What is it about crime writing that attracts you the most?
I’ve always been a big reader of the genre. I love the fact it’s such a broad church, but for me, it’s a brilliant tool for exploring contemporary society with. I’m a big fan of writers like Graham Hurley, George Pelecanos, Ian Rankin and Ray Banks. They’re all very different, but what connects them (in my opinion) is a curiosity about people and the way they interact with their surroundings.
And finally, what are you working on next?
“The Dead Can’t Talk” will be published May 2016, so I’m currently working on edits. Here’s the blurb:
How far will Anna Stone, a disillusioned police officer on the brink of leaving her job, go to uncover the truth about her sister’s disappearance? Approached by Luke Carver, an ex-Army drifter she’s previously sent to prison, he claims to have information which will help her. As the trail leads from Hull and the Humber’s desperate and downtrodden to its great and good, an unsolved murder thirty years ago places their lives in danger, leaving Stone to decide if she can really trust a man who has his own reasons for helping.
You can follow Nick Quantrill on Twitter @nickquantrill
Find out more about him here: http://www.nickquantrill.co.uk/