Melanie Cook, PR & Marketing Manager, VisitNorwich
It’s curious that even in the 18th century, coffee houses were as popular as ever. Though in those days, they were packed out with men whilst the women did the service.
Today, if you visit the Museum of Norwich at The Bridewell, there is a recreated coffee house exhibit, particularly memorable for the historically-accurate wig you can try on while you’re here.
While the hairpiece may have gone out of fashion, the places we hold dear for our oat milk favourite flat white are as important to us as ever. Whether you want a bit of peace and quiet, a chat, a chinwag or a break with a book, these are my top five favourite places to grab a coffee and drink in the history of this wonderful city.
This beautiful 14th century thatched building is a hidden gem in Norwich, even though it sits proudly on Norwich’s most complete medieval street. Close your eyes and picture a cobbled street with ancient, leaning buildings and you’ll summon a picture pretty close to how Elm Hill looks today. And The Britons Arms is truly inviting. It’s cosy and quaint with a quintessentially English offering of savouries and cakes, all homemade daily. Don’t miss the lush private courtyard garden in good weather.
This is the largest open-air market in the country, and has been in its current space for over 900 years. Recently it has seen an influx of artisan food makers and producers, meaning the hungry (or thirsty!) visitor is never stuck for choice. It’s the place for breakfast or lunch from around the world and a quick stop coffee, especially if you love people watching.
Scandi style chic plus a bakery equals Bread Source. On the cusp of opening its third cafe in Norwich – surely that says it all. And you can’t have a coffee here without trying their signature Cinnamon Bun! Like making the most of your breakfast or brunch experience? You won’t be able to resist the coffee and unlimited toast offer, with at least 6 types of bread which you toast yourself.
The Strangers were a group of Protestant refugee weavers who fled the low countries in the 16th century as a result of religious persecution. They were welcomed in Norwich where they helped create a prosperous textile industry, and where their influence is still felt today. Right in the heart of the Norwich Lanes, sit at the window in Strangers Coffee House – named after neighbouring Strangers Court – and take it easy with an espresso and pecan pie.
Situated in a beautiful building designed by architect George Skipper – a leading Norwich architect of the late Victorian and Edwardian period. This is French style coffee, served in a beautiful brasserie styled by Martin Brudnizki design studio. Order breakfast al fresco and enjoy your hot drink served in a silver coffee pot with complimentary refills. Wear your best Insta outfit here.
Indulge in some crime-themed cinema this September with the Film Noir season of Vintage Sundays at Picturehouse Cinemas!
Each Sunday, Cinema City brings classic films back on the big screen where they belong. Starting on 8 September, you can dive into the dark heart of Hollywood with five classics from the likes of Orson Welles and Billy Wilder.
Billy Wilder’s paradigmatic film set the template for the genre when first released in 1944. Insurance man Walter Neff (Fred MacMurray) schemes the perfect murder with the beautiful wife of one of his clients (Barbara Stanwyck): kill her husband and make off with the insurance money. But Walter’s colleague (Edward G. Robinson) – a shrewd insurance investigator – has a feeling that not all is as it seems with the widow’s claim.
Humphrey Bogart delivers one of his best performances in Nicholas Ray’s hard-boiled, LA-set thriller. Dixon Steele (Bogart), a moody, volatile Hollywood screenwriter who’s had his heyday, is accused of murdering a coat check girl from a showbiz restaurant. Laurel (Gloria Grahame), an actress who lives in Dixon’s apartment complex, provides an alibi for her neighbour when questioned by the police, and the pair start a relationship. But the chief of police is unconvinced of Dixon’s innocence and, after learning of his violent past, Laurel begins to question if she is putting herself in danger by staying with him.
Director Robert Siodmak brings Ernest Hemingway’s gripping short story of robbery and betrayal to the big screen. Two hit men walk into a diner asking for a man called “the Swede” (Burt Lancaster). When the killers find the Swede, he’s expecting them and doesn’t put up a fight. Since the Swede had a life insurance policy, an investigator (Edmond O’Brien), on a hunch, decides to look into the murder. As the Swede’s past is laid bare, it comes to light that he was in love with a beautiful woman (Ava Gardner) who may have lured him into pulling off a bank robbery overseen by another man (Albert Dekker).
Beginning with perhaps the most celebrated tracking shot in history, Orson Welles’s bravura film noir is a shadowy tale of murder, malevolence and police corruption. When a car bomb explodes on the US-Mexican border, Mike Vargas (Heston), a Mexican official investigating drug trafficking, is drawn into the case. Vargas is convinced that American cop Hank Quinlan (Welles) is planting evidence to incriminate the prime suspect, and he becomes obsessed with exposing Quinlan as a rotten apple. Quinlan then seeks revenge by conspiring with gangsters, who terrorise Vargas’s wife Susan (Leigh). Welles gives a stunning performance as a man increasingly depleted of humanity, and his deliriously daring thriller with a dark emotional core is one of the greatest of its genre.
This week we have an interview with author Winnie M Li, writer of the novel Dark Chapter which was described by the Guardian as “a defiant retelling of personal trauma.” Winnie also wrote an article for us about activism and literature – keep scrolling to read it!
Please note that this episode discusses assault, which some listeners may find distressing.
Asking the questions this week is Elspeth Latimer, a UEA postgraduate researcher in crime fiction who worked on the Noirwich Crime Writing Festival with us, courtesy of a CHASE (Consortium of the Humanities and Arts South-East England) placement.
Hosted by Simon Jones, writer and Digital Marketing Manager at the National Centre for Writing.
Winnie M Li discusses whether novels can be a creative and effective way of exploring and drawing attention to important issues – and is fiction better at doing this than non-fiction?
When you live through a trauma, and that trauma changes your life — And when you realise that trauma is actually part of a much larger societal problem, then as a writer, it becomes vital to write about it. Or at least that’s how it was for me.
My debut novel Dark Chapter is a fictional retelling of something that happened to me ten years ago: I was followed by a stranger in a park outside of Belfast, and I was violently assaulted and raped. At the time, it was very much a matter of survival for me — not just during the attack itself, but in the months and years that followed. I felt isolated, cast adrift, often hopeless I would ever recover.
Along the way, I learned that sexual violence is actually something many people suffer: approximately one in five women become victims. And as I gradually became an activist around this issue, I realised how much readers need a novel that truly testifies to the survivor’s experience — the horror and the injustice of it all — while also showing a path towards recovery. I wanted to show how ill-equipped the criminal justice system can be for victims. And If I could tell this story in the form of a compelling crime novel, then I could not only engage readers through the twists and turns of a plot, but also place them in the shoes of both the victim and the perpetrator of a crime. Through my characters, I could do justice to the experience of injustice.
Writing as a means of demonstrating injustice has long been an impetus for many a novelist. From Charles Dickens’ exposé of debtors’ prisons and the urban poor in Victorian London, to Harper Lee’s child-framed view of racism in the American South, novels have always been an important way of exploring societal inequalities. Would we call this writing a form of activism? I suppose it’s up to the individual writer which word they want to use. But I’d say yes, these types of novels very much have activism at their root.
However, we often picture activism as being very in-your-face: protestors brandishing signs, shouting collective chants, chaining themselves to gates. Novels are more subtle. Instead of yelling angrily at you, novels win you over by investing you emotionally into the life of a character who might be suffering through injustice. They dramatise the human experience behind a larger problem, render that experience lived-in and relatable for readers.
This is why fiction, with its immersion into the mind of a character, can have an edge over non-fiction, which carries a duty to presenting actual, proven fact. Fiction also has a plot which can keep readers riveted. And it’s more likely to appeal to the general public. Not many people would want to pick up a treatise about squalor in Victorian debtors’ prisons. But peopled with Dickens’ colourful characters and an intriguing plot, that unjust, dangerous world can come alive in a novel. So by writing fiction around a form of injustice, we can reach a wider audience, and raise a greater awareness about what needs to change.
I’m really looking forward to discussing this in greater depth with two fantastic crime writers Eva Dolan and Mari Hannah at Noirwich this year. Through our novels, we all touch on ways in which society could be better at handling issues like violence, mental health, inequality, gender. Come along on September 15th to ‘Writing Wrongs’ and join in the conversation — after all, change can’t happen without a dialogue first.
Matt Wesolowski is the author of Six Stories and was at Noirwich 2018 on the Books, Box Sets, Big Screens panel alongside Jane Lythell and Nicola Upson. Here he discusses the term ‘hybrid writer’ and how he incorporates new forms into his storytelling.
I often get described as a hybrid writer. That’s an apt description; stylistically I’m like any writer. I’m a semblance of bits, a crucible of influences. I’m more jumble sale in a village hall than high end fusion cookery but there you have it. I’m not really a crime writer. Not a proper horror writer either. I’m a hybrid.
When I was young I read everything and anything I liked the look of. I remember feeling bemused by a girl in school who asked me (rather witheringly) why I always read ‘girls’ books’. We were in year eight. I never understood what she meant; I still don’t. Mind you, she was the same girl who wished me a ‘terrible future’ in my end of year book. I get the feeling she’s probably not a fan.
Limiting yourself to books that are only of a certain label or genre makes little sense. I often hear people say they like to read ‘trash’ on holiday. I don’t know what that means either. Why would you go and read a book that isn’t good? That didn’t do something to you emotionally? I don’t get it.
It’s the same with the ways of storytelling. I’ve always loved the idea of different formats within the same book. That’s when hybrids start to form; odd shapes shambling out of our brains and into the world. I studied Linguistics at university and have always been fascinated by how our language evolves; how patois and dialect find their way into our lexicon, become standard, forcing older words into archaisms. I feel that fiction does the same thing. I love it when an author slips in some form from the modern era. It feels almost taboo; a strange hybrid brought to life. I remember seeing Lauren Beukes use Reddit threads in Broken Monsters, Paul Tremblay using blogs in A Head Full of Ghosts – the thrill it gave me, how relevant it was. How perfect. I loved it.
Technology gives us new ways to tell stories. As a species, we have always told stories. Podcasts are a new way we tell stories and that’s why I wanted to use this form, to make this hybrid of audio and literature. Writing a book in the form of a podcast wasn’t difficult, it felt new, it felt exciting, it felt taboo. I didn’t even know if it would work. My own hybrid creature unleashed from the lab.
I’m sure there are some who hate literature being tainted by new formats, who see fiction as a sacred cow, an untouchable art form that should not be sullied by the frivolity of modernity. I feel like the emergence of new ways of storytelling will always play a huge part in what I write. So long as a story is being told effectively, so long as it’s relevant, for me it’s valid.
But there will always be people who will shun a hybrid, will drive the monster from their village. I imagine they’re the same types that tell boys they can’t read ‘girls’ books’ and read ‘trash’ on holiday.
Or maybe I’m a weird creature with a terrible future…
Val McDermid delivered the annual lecture at the 2018 Noirwich Crime Writing Festival, on the subject of “What we really talk about when we talk about crime fiction”.
As well as being a legendary crime author, Val is also one of this year’s Man Booker Prize judges, and her lecture examines where crime fiction sits in the wider literature scene and how it relates to society and the real world.
The Noirwich Lecture is presented by The Times and Sunday Times Crime Club.
Hosted by Simon Jones, writer and Digital Marketing Manager at the National Centre for Writing.
Leo Benedictus was at the Noirwich Crime Writing Festival in 2018 to talk about breaking rules and pushing boundaries alongside Jacob Ross and Louise Welsh. Here he muses on the importance of genre definitions – or the lack thereof.
There is a little speech I find myself giving, when someone asks what kind of books I write. “Publishers call it literary fiction,” I say. “It basically means novels that aren’t thrillers, or romances, or sci-fi, or something else. It’s the stuff that doesn’t sell.” I spare us both the embarrassment of what “literary fiction” really means. It means I think I’m an artist.
So when my second novel, Consent, went out to publishers, I was surprised that people started calling it “a thriller”. In retrospect, I am surprised I was surprised. The book tells the story of a stalker and his victim. I meant it to be very frightening. I’ve not read many thrillers, but the resemblance should not have been hard to see. Nor was it unwelcome, altogether. If Consent could be called a thriller, it seemed I might be better paid for it, so I kept my surprise to myself. Now I’m booked to speak at a crime writing festival. These things get quickly out of hand.
Some people say that only snobbery preserves a distinction between literary fiction and the rest. I don’t agree. I think the distinction is clear. It just isn’t very useful – and is frequently misused – because it describes something you can’t see on the page. Literariness is an intention. It exists only in the minds of authors, a mysterious place, especially for authors themselves.
Because when writing a novel, you face one question above all others. Why am I doing this? Is it for readers, or for myself? Both, may be the answer you want to give. But in practice, over and over, you are forced to decide. Do you use an unusual word that delights you, or find a better known alternative? Do you want people to consider your ideas and admire your craftsmanship, or would you rather not distract them from the story? Should the book be easy to read, with a hook at the beginning, a twist in the middle, and a satisfying end? Or can it have longueurs, moments of strangeness, that release their pleasures slowly, if at all?
Every novel is made from choices like these, and if it were possible to list and study them, we would see whether most faced out or in. If you write mainly for yourself, it is a literary novel. It may please others, but that isn’t what you wrote it for. Novels written to please other people are non-literary. They naturally tend to repeat what has been popular before, and as a result they mingle into streams, which we call “thrillers”, “romances”, “space operas” and so on.
In practice, the distinction muddies easily. Paul Auster’s New York Trilogy uses the pattern of detective fiction, but was made with literary choices, it seems to me. And let’s not kid ourselves. It is more prestigious to be an artist than an artisan, and some novelists write with that in mind. Their books resemble literary novels, but aren’t, because of course they too are trying to please an audience. As a result, their novels often form new streams. Right now, quasi-memoirs, some of them excellent, are enjoying much commercial and critical success. But if you write one because you know this, it isn’t literary. You are not writing for yourself.
At first glance, challenging avant-garde novels seem to guarantee their author’s literary intentions, because nobody would write one to be popular. On the other hand, for the same reason, this is the genre you would expect to attract people who yearn for literary prestige. Not caring what readers think and trying to look that way are – obviously – quite hard to tell apart.
Which is why it’s best not to worry about the word literary. Yes, it is a badge that means something, but we can’t pin it anywhere. Not even on ourselves.
BBC One’s Death in Paradise is one of the top three most popular programmes on British Television, enjoyed on screen as well as in a series of novels: we asked its creator, Robert Thorogood – how does writing the novels compare to writing the screenplays?
Although the genre, style and tone of the books and TV shows are broadly the same, it’s perhaps unsurprising that the process of writing for both of them is wildly different.
The first and most obvious difference is that the TV series really is a gang show: from original idea through to finished script, each writer on the TV show is helped by the input of the other writers, a script editor, story producer and other execs on the show. It means the writers are constantly supported, and the entirely natural crippling fear, doubt and panic any writer feels trying to get a story to ‘land’ is shared among the whole group.
Whereas when you write a novel, you’re on your own. And not just for a few days or weeks. For months. This can be hugely liberating (up to a point), as you can make and implement decisions in the story as quickly as you can think of them, but I have to confess that I really miss that feeling of ‘we’re all in this together’ that a TV show gives you.
Having said that, it’s surprising how much more freedom there is when you’re writing a novel rather than a TV show.
This is mainly because novels don’t have any budget restrictions, problems with hiring locations, actors’ availability, or sudden tropical downpours (or hurricanes) to contend with. In a TV show you’re always limited by what you can actually shoot, whereas with a novel you only have to write a sentence and you can conjure anything into existence.
For example, both of the stories for books one and two in the Death in Paradise series were ideas I’d first pitched as TV episodes, but we’d not been able to make them ‘work’. This was because the murder in A Meditation on Murder required a Japanese style paper tea house we couldn’t afford to build; and The Killing of Polly Carter required a cliff from which to throw a supermodel – and there’s no such cliff anywhere on Guadeloupe (where we film the TV show).
What’s more, we tend to have only limited locations in the TV show, because it’s already so very expensive to make each episode, whereas in a novel it’s possible for the police to go anywhere on the island for free. (This was something it actually took me quite a while to realize, and I’ve tried to make this a feature of Book 4 – Murder in the Caribbean, published in December 2018 – where I’ve purposely come up with a story that takes us on a tour of the whole of the island of Saint Marie).
But perhaps the greatest joy of writing the novels rather than the TV show is that a novelist gets to access his or her characters’ internal thoughts. Rather than rely on an actor as brilliant as Ben Miller to show the audience what my hero might be thinking, it really is liberating finally being able to access his misanthropic internal monologue and actually commit it to paper.
In summary, it’s hard to say which format I prefer writing, and perhaps the only conclusion I can come to is that while TV and books are both so very different, I’m extremely grateful that I get to do both.
Elodie Harper shares her impressions of a certain place in Norfolk that inspired her novels…
The first time I got a sense of the true menace of the Norfolk landscape was after I moved to the county to work for ITV News Anglia. I was assigned a reporting job in Great Yarmouth and set off in the car with David Bush, the company’s longstanding cameraman.
We reached the Acle Straight – or ‘new road’ as David called it, in typical Norfolk fashion given it’s almost 200 years old – and entered the marshes. It was early morning and the ground mist rose like smoke. On either side of us, the land rolled out, seemingly forever, and through the fog stood the blue outlines of what looked like windmills. The odd cow or sheep loomed up close to the road, separated from the cars by nothing more than a ditch. I felt like we had driven into the middle of a 16th century painting by an old Dutch Master.
“Where are we?” I asked.
“This is Halvergate.”
“Bit eerie isn’t it?”
“People get mesmerized staring out at the marshes,” he said, looking straight ahead. “End up in the ditch. Drowned, mostly.”
I didn’t know David too well at this point, so it was a relief after we got to Yarmouth, finished filming, and he became less gloomy over a helping of chips, but Halvergate never became less strange. I later learned it had originally been called ‘Hellfire Gate’, which seemed appropriate for a landscape that’s literally smoking from the flames beneath. It was where I built my fictional prison, HMP Halvergate in The Binding Song, but the marshes are also the place that I picture in my mind’s eye whenever I am writing and want to draw on the peculiar menace of the landscape. For me it’s the soul of Norfolk Noir.
Noirwich festival co-director Henry Sutton also writes under the name Harry Brett; here he reveals how Norfolk pervades his work.
There’s the Norfolk Noir of Henry Sutton and the Norfolk Noir of Harry Brett: both begin and end in Great Yarmouth, but Sutton’s stretches further, while Brett’s goes darker. From the beginning Sutton explored domestic dysfunction, driven as much by character, as place. North Norfolk – the eerie marshes, the fast-flowing tides, the vast skies, the unstable land – provided not just the backdrop but the tone and the hints of menace that my early novels, particularly Bank Holiday Monday, were packed with.
Then came the novel Kid’s Stuff, which had the landscapes and big, doom-laden skies – along with what I’ll call a Norwich Noir setting and theme. The novel’s centred on a white, working-class bloke, living in a place very like Norwich. He’s struggling to modernise, and the people closest to him suffer most from his frustration. The most chilling scene I think I’ve ever written takes place in this novel, on the Acle Straight, as he drives to Great Yarmouth.
Yarmouth features in all but name in My Criminal World. As does Norwich – again in all but name. The novel revolves around a crime writer dealing with block and outdated, bourgeois notions of genre. The work he’s trying to finish is a crime novel set in Kingsmouth – my amalgamation of King’s Lynn and Great Yarmouth, though really it’s much more Yarmouth than Lynn, even down to the use of real street names. The point was to explore Norfolk’s most diverse and challenged communities.
This work and focus has continued with my Harry Brett novels, which are firmly rooted in Great Yarmouth, and combine, I like to think, the extraordinary physical vistas – both natural and manmade – with a tension derived from a town on the edge in every sense. While I’ve long believed that character and plot are intrinsic, I’d also like to add place to the mix, in equal measure. The Sutton and Brett novels are defined by character, plot and place. None could have happened elsewhere.
Nicci French is the hugely successful writing partnership created by married couple Nicci Gerrard and Sean French. Here they discuss what it’s been like to live and write with the characters in their thrilling Frieda Klein series.
One of the surprises of writing fiction is that when you finish your book, when it’s published and sent out into the world, it’s still not really finished. As people start to read the book, the characters develop and slip out of your control. We had become used to that. Sometimes it’s disconcerting. Readers may not love a character as much as you do. Even more strangely, you create a villain, a violent criminal, and you meet readers who wish you had let him end up with the heroine. But he was a murderer, we protested, uselessly.
It didn’t matter. He was out of our hands now and he belonged to readers as much as he did to us.
Even so, we weren’t prepared for the entirely different experience when we began writing about the psychoanalyst, Frieda Klein, in Blue Monday and then followed her dark course over eight books and almost a decade of our life and of hers. Previously we had finished a book and sent the characters out into the world and we were done with them. Now we sent them out into the world, we talked to readers, we heard what they thought of them. And then they came back out of the world and we followed them in the next book and the next, as they changed and life changed them.
To take one example, in Blue Monday a Ukrainian builder called Josef Morozov literally falls through Frieda’s ceiling into her consulting room while she is conducting a session. Josef was invented to perform a specific role in this one book.
But he just wouldn’t go away. He refused. And readers were asking after him. They wanted to meet him again and we wanted to meet him again.
We came to discover that creating characters in a series of novels is like inviting people to a party. You invited friends, some family members, a couple of people from work, a few neighbours. Some of the people know each other, most of them don’t, but you never know who will get on with who. One of your best friends leaves early while two people you barely know and don’t know each other, get on uproariously and keep the party going until midnight.
Creating the characters for the series was rather like that, except if someone is sulking in the corner at your party, you can’t kill them off. Some characters appeared, did the job they were meant to do and then left. Or if they didn’t leave, they were killed. Others wouldn’t leave. Karlsson was a detective involved in the kidnapping case at the heart of Blue Monday. We weren’t sure how much he would be involved in later novels. But readers kept asking whether he was going to get together with Frieda. We had to keep him. Characters in the background – Chloe, her niece; Sasha, a one-time patient; Reuben, her mentor – gradually moved to the foreground as our solitary heroine gradually accumulated a family around her.
And all that attention still affects us. We’ve finished Frieda’s story but people still ask us about the characters. Where are they now? Where is she? We don’t know what to say. They’ve gone. She has gone. Out there somewhere, but beyond our control.
Arts Council England
Norwich City Council
Norfolk county council
Dead Good Books
Icelandic Literature Centre