The Snatcher is a new audio-book written by Chris Wade, a Leeds-based writer and illustrator and narrated by Hannah Melbourn, a London-based actress, singer and voiceover artist. I caught up with them both to find out more about the story, their other projects, and what the next few months hold for the pair.
Interview with Chris Wade:
Hi Chris! Could you tell us a little about yourself and your work to date? You’ve written extensively – how did it all start?
I’ve always written stories and comics since I was a boy. I never really had aims to take it more seriously, but I wrote a book in around 2008 called Cutey and the Sofaguard as a bit of a laugh and really got into it. In 2009 I had the chance to write a book for Hugh Cornwell, who used to be the singer of The Stranglers, which was sold on his tour. I didn’t think any publishers would be interested or be able to get it out quick enough to be sold on Hugh’s tour, so I released it myself. From there I got more interested in various other projects and it kind of snowballed.
What advice would you give to anyone wanting to get started on a writing career?
I never know what to say for this, but I think one thing I can honestly say is don’t be afraid to release things yourself. With hard work and self belief you really don’t need a publishing house to tell you you’re good enough.
You started your own publishing house, Wisdom Twins Books, in 2009. How did you set it up? What are the challenges and rewards involved in running it?
I went for it and set up the company. At first I just had the one Hugh Cornwell book and a free monthly arts magazine called Hound Dawg which I still sometimes do. So I would be interviewing people like Victoria Coren and Arthur Smith (the comedian) and wondering what else I was going to do with this little company. Then I had the idea of combining my love for films and music, and my passion for fiction. So I started writing books on film, which I’ve done a few of, and surreal fiction. The one that started it was the audio-book of Cutey and the Sofaguard I released in 2010, which was narrated by Rik Mayall. That was when I really had an aim to do this properly with dedication. It’s really rewarding as you get all the satisfaction of doing it all for yourself, keeping your rights and keeping yourself busy. It’s challenging sometimes when things don’t go as smoothly as you’d hoped, but you take the rough with the smooth.
The press release describes The Snatcher as a ‘surreal fable’. Can you tell us about the inspiration behind the story?
It was inspired by this thought I had. I realised that some people will do anything for money. They will stick around if money’s on the table no matter how badly they’re being treated. The story follows this young couple who are in debt to a rich, vulgar monster called Danny Bruce. He invites them on a barge trip, which they feel obliged to join him on and that’s where the trouble starts. The canal is haunted by this bloke called The Snatcher who lurks there on his leather barge, wishing to do monstrous things to anyone who passes through. It’s all about greed being not so good. I suppose it’s a two fingers up to the Thatcherist ideal, the rich getting richer with no regard for the poor and the needy. That’s Danny Bruce in a nutshell. Just vile greed personified. What was it a Conservative member once said? “Unemployment is a price worth paying.” That’s the kind of thing Danny would say. So while it is a comedy, I am making a point with the grotesque characters.
Is The Snatcher influenced by your earlier work?
I suppose it is because it was one of the first ones I wrote after Cutey and the Sofaguard, and Rik Mayall’s portrayals of the characters was so strong it kind of showed me how I should best write a character.
Who do you see it appealing to?
I don’t know really. The people who get my stuff seem to appreciate the more extreme or surreal. I suppose anyone fond of Ken Russell type stuff will like it.
How did your partnership with Hannah come about?
I put out an audition for a psychological audio-book I was going to do, and she answered. I had loads of replies but she stuck out from them all. She was brilliant from when I first heard her. Then when I scrapped the more serious, conventional thing, she was up for The Snatcher. When she sent me a sample I was really impressed.
You’ve worked with comedians Rik Mayall and Charlie Chuck; did you approach them or vice versa?
I approached them. I asked Rik’s agents if he might like to be involved, not really thinking for one minute that he’d even read it. When they said he was up for it I could not believe it. I met Charlie Chuck at the Edinburgh Festival last year after seeing his stand up routine and we did the audio-book the month after. We get on really well and we’re doing some other mad projects together this year.
Are there certain things you look for in a narrator?
Individuality and excitement. The three narrators I have had so far are all different. Chuck did a kind of old style Yorkshire thing that wouldn’t have sounded out of place in a Hovis advert, haha. Rik was energetic and really into it all. And Hannah is similar to Rik, in that she is really good with voices and bringing characters to life. My mate Shawn Dimery and I voiced some short audio-books we did too, which are free from my website, but they’re kind of separate from the other ones.
How does the writing process begin for you? Do you base your characters on people you meet? Do you see yourself in any of your characters?
Some have been based on people I have met, like when I worked in shops, customers, bosses and co workers. Most stories begin with character ideas, sometimes just a character name. They develop from there. I see myself a little in the narrator of the Cutey trilogy I have written, but only in as much he sometimes says things in the way I do. He’s not like me in other ways… I hope not anyway!
You’re an illustrator as well. Do you think more in terms of images or words? How do the two combine for you?
I think in playing with words primarily, but also think that a strong image really enhances the whole thing. But people have said what I do is like a proper mix between a kid’s book and an adult book, like a more explicit Roald Dahl. As some of my stuff is broad at times, although it has some depth as well, an eye catching illustration really is meant to add another dimension to it.
Describe your writing style and your influences.
My style is really me playing with the English language, creating bizzare, surreal imagery and hopefully strong characters. Reviewers have said I’m making light of serious subjects, which I suppose I do. My influences are definitely Roald Dahl, maybe a bit of Anthony Burgess (Clockwork Orange mostly) and films and TV funnily enough. I also love Salvador Dali, who taught me to have a broader canvas with the scope and imagery.
Your recent work is mainly audio-books. Why do they appeal to you?
I just love hearing the words come to life. I don’t think people appreciate audio-books as much as they should and I think they should be seen and made as more exciting things.
What do you enjoy most about your career?
I love the freedom of it and the joy of starting a new project, which is really exciting.
What’s next for you?
I’ve just written another novel called Who Killed Beaky Wilson which I’ll also do as an audio-book. I have a monthly free podcast called Hound Dawg Radio I will be carrying on with and some projects with Charlie Chuck. I would also love to work with Hannah again on something. There’s also a book of short stories and some other audio-book projects I plan to get off the ground.
Anything else you’d like to add?
I love sweets.
Interview with Hannah Melbourn:
Hi Hannah, how did you get started in the voiceover industry?
It has been something I’ve wanted to do for years, so one day I just decided to throw myself into it, I made myself a show-reel and started sending it out. It’s a tough industry to get into so I had to work very hard at the beginning to get a foot in the door, but eventually the hard work began to pay off and I started getting hired. I’m a singer so I feel like my voice is my best asset. It’s nice to be able to use it in a different way.
What attracted you to The Snatcher?
It’s hilarious. It made me laugh out loud the first time I read it, so I knew it was going to be so much fun to do. For me it was really exciting to be able to create all the different voices for the characters from scratch.
Did you work closely with Chris whilst recording? What was that like?
Chris was really encouraging and supportive the whole way through. We live in different cities so I would record and edit a few pages at a time in London, and e-mail them to him in Leeds. He was amazing at giving me feedback and making me feel confident enough to develop the characters. We share a similar sense of humour so it was all pretty easy.
How do you prepare for recording a part? What do you bring to each character? Do you draw on yourself or people you know?
The first time I read the script I was already doing the voices in my head that ended up being the ones that stuck. The voice of Danny was essentially born out of a voice that me and one of my best friends have been doing since we were kids. So I’d quite often have to stop recording to let some laughter out – because I would just be thinking how funny she would be finding this if she was here….
What’s the best voiceover project you’ve worked on?
The Snatcher. Obviously.
You’re also in a band, Nightbus. Could you tell us a bit about its day-to-day workings and your band-mates?
Wow, it really varies. We played at Leeds University, actually, on tour. Day to day it changes all the time, sometimes you’re touring, performing every day, and sometimes you’re stuck in a room for days writing, or recording. You have to be quite adaptable and patient. It can be incredibly hard work but it’s a chance to do what you really love, so what could be better than that?
How was the band formed?
We met in London, introduced by friends basically. Jack was staying on a friend of mine’s couch, and she introduced us.
What are your influences? How would you describe your sound? (Or do you hate to be pigeon-holed?!)
I’m influenced by Debbie Harry, Prince, PJ Harvey…. but our sound is pop, pure and simple.
You recently toured with Example and Ed Sheeran. What were they like to work with? Any amazing experiences or horror stories to share?
We just did one show with Ed, and we shared a dressing room. He seemed like a really lovely guy, and he has a beautiful voice. Example is also a really good performer, the crowd just loved him. He’s doing so well now, the guy is everywhere you look!
What do you love and what do you hate about touring?
I hate the fact that it’s so hard to eat well. You end up stopping at petrol stations and eating sandwiches. I get really ratty when I’m hungry so I end up having to carry around a stash of emergency food. Apart from that, I love the rest of it.
Being in a band must take you all over the world – where and what was the best gig you’ve ever played and why?
I loved playing Lovebox festival because we were on the main stage and that was just incredible, a dream come true for me. And we did a little show in a hipster place in New York which was pretty cool. But my favourite gig so far was this one night at Koko in Camden – it was the audience – they were just going completely insane, it was electric.
What’s your favourite Nightbus song and what was the inspiration behind it? And your favourite and least favourite songs of all time?
It’s hard to choose. Maybe ‘One Day At A Time’ because of the way I feel when I sing it. Favourite song of all time would have to be ‘Uptight’ by Stevie Wonder – it sorts my head out. Least favourite song of all time? I really hate aggressive hardcore dance music, it sounds really cheap to me.
You were once named The Guardian’s new band of the day and your single ‘I Wanna Be You’ was Popjustice’s single of the day – such a positive response must be encouraging.
It was amazing. I’ll never forget the moment when I first saw that article.
What advice would you give to someone looking to get started in either the voiceover or music industry?
I don’t think you can really give advice when it comes to the music industry – there are no rules. It’s the same with a lot of the creative industries – there are never any guarantees. I would say, be brave, and go for it.
What do the next few months hold for you?
I’m typing this from a very cold Brooklyn, in New York City. We will be spending some time here, then back to London for a while. Certainly a lot of writing and recording. You can make plans, but you never really know what’s around the corner.
To find out more about Chris or to buy The Snatcher, go to:
http://wisdomtwinsbooks.weebly.com/
http://chriswadewisdomtwinsbooks.blogspot.com/
To find out more about Hannah and Nightbus, go to:
http://www.myspace.com/nightbusmusic
https://twitter.com/nightbusmusic
Laura Johnson
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