Tell us about the plays you've written

'My first play was written on an access course back in 1995 (before university). This was at Matthew Boulton College in Birmingham. It is called 'THE GREATEST TABOO'. It tells the story of a young black boy who, one day over the dinner table, plucked up the courage to tell his father that he was gay. It goes without saying that his life took a most expected turning point. He was no longer 'his father's son'. Feeling rejected, he left home and started a new life in London's Cardboard City. The story went on. I have done nothing with this play though, as I'm a bit of a perfectionist and keep thinking of bits I could add.

My first children's play 'THANK HEAVENS FOR MY FIVE SENSES' was first performed in 2002 by the children of Regents Park Primary school, in Small Heath Birmingham. It brought tears to my eyes to see these children performing my work with such dedication.'

Another one of my plays, (a screen play), 'WEBBS AND CRADLES' tells the story of a man who was seduced by his wife's best friend after a party, after he kindly offered her a lift home. This proves that 'Come in for a coffee' for some people, has a totally different meaning. She got pregnant and decided to keep the baby! No doubt, it made life extremely difficult for all involved, after the secret was out. And the story goes on. All these plays are work I need to dust down and air out, so to speak.

And your poetry?

Poetry is something I use as a kind of release. If something gets me emotionally, be it happy or sad, it goes down on paper. At first, performing them couldn't be more further from my mind. The first time I performed however, was a few years back when I was asked by Dr Roi Kwabena (then Birmingham's Poet Laureatte) to perform at The Drum in Birmingham. Ever since then, I have not stopped, and what with the appearance of Black History Month and all that, I find myself reading in cities such as Bristol, Manchester, Luton, Coventry and all around Birmingham. As well as adult poetry, I find great pleasure in writing children's poetry also.

How do you rate other black writers you have come into contact with recently?

Believe me, I've seen some amazing stuff coming from black writers lately. To think that before, we were more or less stiffled. I have even had the pleasure of working with a few of them - the likes of Roi Kwabena, Pete Kalu, Dotun Adebayo, Diran Adebyo, Zena Edwards, Courttia Newland and many others. These guys have unique 'voices' and it's a great thing to know that they are being heard!

Did you find it difficult to get published?

Getting published was not easy. I sent my manuscript as far afields as Ireland. All replies came back with more or less the same thing - worded differently, but simply saying 'no chance'. Black writers have that extra 'difference' in their voices. A kind of uniqueness. Voices that mainstream publishers simply do not have the time to listen to, moreover, try to understand. Personally, I feel that the slightest indication of patoi for instance, puts them off. Patoi is unique to my culture, my people, and although I would not write a book with 100% patoi, I would not write one without a certain amount. The people around me speaks patoi at some time or the other, so how could I portray my characters without it? Yes, I will agree that it probably would minimise your reader, but my stories would not be 'true to life' if my characters weren't. That is why I could not have enough grattitude and respect for Dotun Adebayo and Steve Pope at The X Press, who, from the outset, read Mr Soon Come and straight away said, 'We are sending you a contract tomorrow!' We have a voice and there is a niche in the market, so let's hear it! Together we will force back the barriers that are so blatantly stretched across the doors of mainsteam publishers.

What kind of audiences have you been reading to?

Funny you should ask that. A question that takes me back to the wrong judgment of the mainstream publishers on readers. I really do think they've got it so wrong. They are assuming that white middle class readers do not want to read black novels. Wrong! English people are inquisitive.You only have to look at documentary makers who go to the ends of the earth to find new stories to tell hungry viewers. As well as a host of black and Asian readers, I find myself reading to more white, middle class readers than I had ever expected. They love the difference.

Your novel tells the story of a guy who can't say no to women. Have you ever been accused of giving in to the stereotypical view of black men?

Not so much accused, but this question has been put to me several times. I knew that I would not completely escape the question of stereotyping black men, but I suppose if I wrote a fiction about the gun culture, which tells of a few young black men killing each other - you kno, this black-on-black violence thing - I would probably be asked the same thing. I am a writer. I write about things that move people. Just as long as there is a message or two in the tale. Just after Christmas 2001, Mr Soon Come was at the top of Waterstone's (High Street, Birmingham) and also 'Books Etc' in Star City's book selling list. So what made people want to rush out and buy it? I think it's because the subject moved them also. Men and women, regardless of their creed, colour or race have walked the plank of infidelity at some time or another. I am a black woman who is writing from my own experiences, the experiences of people around me - life basically. I write true to life books. Let's not pretend these things don't happen. Moreover, it is unlikely that white, Asian, Chinese or any other race for that matter, would write about black men. Of course my novels will have a sprinkling of a few different races in them, but of course they will be dominated by black characters.

How do you find working with children?

Children are wonderful to work with. When I first enter a class-room, the first thing I ask is, 'How many of you think you are writers?' Guaranteed, the majority will say they're not. Yet it's amazing to see the great pieces of work they put out at the end of a six lesson session - both poetry and stories. It is true what they say, 'Give me a child until he's seven'.

Is it true that you have had some film interest in Mr Soon Come from the States?

Yes, but it isn't really anything I'd go to town about, since in things like these, until you're actually signing on dotted lines, it is not worth jumping up and down about. A film director in America read the book and liked it. She called me and talked about the possibility of doing the film. Of course I felt good, but like I said, until I am signing something, I can't get too excited, so while they are doing (or not doing) their stuff, I'm just getting on with what I enjoy most, writing. The fact that they like the book is enough for me.

What are your future ambitions I have several future ambitions?

Most of all though, I would like to read every single piece of work Maya Angelou has ever written. I don't think I am far off. Then I would like to write an essay on the phenomenal woman herself. And of course I would love to meet her. I would also like to see my plays staged, my novels televised, my complete collection of poetry and children's stories in their own collection. Oh, and I would like to meet Nelson Mandella.

Do you have any advice for people who want to write?

Go for it. I think once you feel you want to write, you should be writing. Let no one steel you dreams. Pick that pen up and write.

Mr Soon Come
Now you see him...now you don't!

<<< Back to Heritage Networking Page