New year, new books

Most of us had to get back to work this week, and that includes writers! I’m at the creative stage, ideas flowing, crazy ones or a bit more sensible, I’m making a huge amount of notes, then just as likely, crossing them out the next day, only to come back a day after that and think, ‘Yes, actually, I like that idea, it could work really well.’

I’m not much of a planner but I’m doing my level best. I’ve been looking ahead, and trying to plan a work schedule.

I’m intending to spend the next five weeks drafting my new Dottie book – hopefully that will be out in December. That will be book 9 of the series, and I’m calling it The Rough Rude Sea. Dottie and William return by steamship from their honeymoon. Obviously it’s not going to be smooth sailing. (sorry about the pun).

Then, mid-February, it will be all change, and I’ll be in editing mode as I tidy up and polish Through Dancing Poppies, the third book in the Miss Gascoigne mysteries series.

Then…

…at some point I’ve got to crowbar in rewrites and polishing etc of Dirty Work, book 1 in the new trilogy Families Can Be Murder. This is a spin-off of my original trilogy Friendship Can be Murder, book 1 Criss Cross was first published in 2012. This time it’s Matt, not Cressida, writing the diary entries and confessing all.

Apparently I’m also going on holiday… I think I might need it!

***

 

Criss Cross: Friendship can be Murder: book 1

I first published Criss Cross in Feb 2013.

It wasn’t the first book I wrote, but it was the first book I decided to take the plunge and self-publish. An early reviewer said it was the worst book they’d ever read, which made me feel quite proud. It was an achievement of sorts, though maybe not in the way I’d hoped! 😀

I suppose it’s not for everyone–stylistically, it doesn’t suit a lot of people’s taste. It’s written in the first person, in diary-entry sections rather than chapters, and the character herself, our narrator Cressida is ‘posh’ (which is why the trilogy was, to begin with, called the ‘posh hits’ murder series).

But I like to think the story has heart. and it’s not so much a murder mystery as a murder confessional – throughout, Cressida tells us–more or less–exactly what she’s up to. Of course, the joy of first person narration is the reader can only know what the narrator knows, so if she doesn’t know everything, well, well, well…

Some people liked it though. One reviewer seemed to ‘get’ it. To my great joy, they said:

“…the heroine is completely without morals…You really should not like her, but you find yourself wishing her every success in her increasingly bizarre schemes and personal entanglements”

Whilst another (I’m bragging now – sorry!) said,

“Outstandingly witty, daft, exciting and so enjoyable!! This is the best book I have read in a long time. Exquisite!!”

And someone else said,

“…enables the reader to enter into the twisted world of the main character … reading her journal … you take voyeuristic pleasure in her inner thoughts, plans & audacious exploits”

Why am I going on about it? Well, I’ve just started writing a new book for a new trilogy, which is a ‘twelve years later’ spin-off of the Friendship can Be Murder series. The new one is called Families Can be Murder, and book 1 will be called Dirty Work. You can find an extract from the book on this page:

These books are quite different to my Dottie Manderson and Miss Gascoigne series. It can be helpful to write something different. I don’t want to get into a rut with my other two series, and it’s nice to write something that feels new and different, and gives me scope to write outside of the historical periods of the other books.

The first books, though, Criss Cross and the other two books in the series were a bit of a leap of faith for me. Could I really do it? Could I actually write–and publish–books that would sell? It was scary, and 12/13 years ago, self-publishing was still quite a new concept to many people.

Some people told me I was kidding myself, that I was just a wannabe, that if it wasn’t published by a traditional publisher then clearly my book was rubbish, and a mere hobby or wishful thinking. Oh well, you can’t please ’em all!

Just in case you’re interested though, let’s go back to the beginning. Here’s what Cressida had to say in book 1:

(Caution: contains bad words!)

Blurb:

Spoilt society girl Cressida Barker-Powell wants to murder her interfering mother-in-law. In her diary she carefully plans the perfect murder but when she arrives at the scene, she finds the old woman already dead. Soon it becomes clear that her Hitchcock-Movie-loving best pal, Monica, has carried out the deed for her! Taking the murder-switch idea from their favourite Hitchcock movie, Cressida decides the only real way to show her gratitude is by killing off Monica’s philandering husband and his bimbo girlfriend. Monica should appreciate the idea of swapping murders. That’s what she wants, right?
Wrong!
Cressida quickly discovers this was not what her friend had in mind, and a devastated Monica is now hell-bent on revenge. Which means their friendship is definitely over. Isn’t it?

Criss Cross:

Sun 24 June

To my darling Cressida

Happy Birthday, Sweetheart! Have fun writing down all your thoughts and plans and dreams, then when we’re old and grey we can sit together on that terrace in Capri and watch the sun go down, drink a glass of wine and you can read me the spicy bits from this journal and we will have a good laugh and talk about the old days!

With all my love forever and ever

Thomas xx

Same day: 10.35pm

She must die!! I hate her!! I refuse to put up with her a moment longer, she is an evil, conniving old bitch without a grain of family feeling and it’s time she was dead!!

Mon 25 June—2.35pm

Have you noticed how some people just never seem to realise they’ve gone too far?

I was going to start off my new journal with something terribly erudite and wise. Like a new school notebook, I particularly wanted the first page to look lovely. But I suppose it really doesn’t matter if the first page isn’t perfectly neat and everything: the whole purpose of a journal is to pour out one’s innermost thoughts and give vent to all the frustrations that, as a nicely brought-up person, one can’t give full reign to in ‘real’ life, and so obviously even the first page can get a bit messy. And now just look at it!

But I digress. I must explain from the beginning…

It was my birthday yesterday. 32 already. God, I’m old! I looked at myself in the bathroom mirror this morning and even in the flattering south-facing light and all steamy and fresh from the shower, I’m absolutely certain I could see the tiniest line down the left side of my face from my nose to the corner of my mouth—I’m convinced it wasn’t there yesterday. Wonder if I’ve left it too late for Botox?

Among a number of very extravagant birthday gifts, my Darling Thomas gave me this sweet little journal. I’d mentioned weeks ago that I used to keep a journal when I was a melodramatic teenager, and how nice it was just to write down everything that happened and to really get it out of my system and add in lots of ‘grrr’ faces and heavy underlining, and lo and behold, the dear man, he surprised me with this journal for my birthday. So here I am.

It’s an absolutely beautiful book. It has a hard cover with a weird kind of gothicky design in the most gorgeous shades of black and purple and gold, with a magneticky bit in the front flap to keep it closed, and the pages, somewhere between A5 and American letter-size, are edged in gold too, so it feels very glamorous to write in—In fact I was a bit afraid to begin the first page, hence all the fuss about it looking nice and neat, I almost got a kind of writer’s block!

But all my good intentions and deep thoughts and years of accumulated adult wisdom and the desire to create something really special went out the window when my cow of a mother-in-law turned up on a ‘surprise’ visit and now my first page—well second really, under that really sweet little message from Thomas—Is absolutely ruined! I only hope to God Thomas doesn’t read it!

Not that she’d remembered it was my birthday any more than my own mother had—oh no! One can’t expect her (or either of them in fact!) to keep track of trivial little details like that. No, she needed Thomas’s advice about some financial matters, and thought she’d pop over. After all what’s an hour and a half’s chauffeured drive here or there? Of course she didn’t bother to ring first, see if we were in or free or anything. Clarice is used to everyone falling in with her plans.

‘I knew you wouldn’t be doing anything important,’ she says as she breezes in, dropping her coat in the middle of the hall, frowning around at the décor before settling herself in the drawing room, demanding tea. Not just the drink! By ‘tea’ she means that Victorian/Edwardian meal between Luncheon, as she calls it, and Dinner. She expected crustless sandwiches, crumpets, cakes (large and small), scones, jam and cream, the works. And copious amounts, of course, of tea-the-drink. China, not Indian. With lemon slices in a dainty little crystal dish, not 2 litres of semi-skimmed in a huge plastic container.

Thomas reminded her that it was my birthday and that consequently we had plans for the evening. She waved a negligent hand. Her hair, a shade too brave, was salon-perfectly waved if somewhat stiff-looking, and her clothes were at least one generation too young for her, but hideously expensive as well as just—well, hideous. Did I mention I hate her?

‘Oh that can be set aside. You can easily go out some other evening. My financial affairs are of the first import.’

Thomas looked at me. He didn’t want to fight with his mother and I knew there would be no point in trying to push him to resist the onslaught, so for poor Thomas’s sake, I sighed and shrugged and he sat down next to the old dragon and asked what she wanted to know. Meanwhile I dashed off to ring Monica Pearson-Jones and a few others, to let them know that we would either be horribly late for the theatre party, or quite possibly not turn up at all. I have to admit I was feeling quite cross and rather sorry for myself. However, Huw and Monica’s machine had to take the terrible news, as they were out. I hoped to God they weren’t already on their way.

***

Thanks for reading!

The Postcard: a short story

Here’s a short story I wrote a LONG time ago…

‘Have you finished that contract yet?’

My manager’s voice cut into my little lonely bubble and made me jump half out of my skin. He glowered a bit, angry with me for being startled, but he was somewhat mollified when I told him I only had two more pages to go out of the original thirty-two.

‘By lunchtime, yeah?’ he reminded me as he moved away to pester someone else.

I can’t stand it here. I’ve been here a month, but it feels like a life-sentence. A weekend is just not enough parole time after the working week that precedes it.

I stared at the postcard my predecessor left pinned to the hessian wall of the cubicle. It shows a ramshackle cottage on a beach, an empty beach, with palm trees and golden sand that seems to stretch on for miles, lapped by blue, blue water. And nothing else. No one else.

The cottage wasn’t really a cottage, it was more like a shed or a hut. The roof looks like it would blow away in a hurricane. And this looks like the kind of place where they actually have hurricanes, somewhere hot, tropical. And the walls don’t exactly look sound. There are cracks between the boards—I can imagine all kinds of creepy crawlies getting in through those. There’s only one small window, partially boarded over. There’s a wonky railing around what appears to be a microscopic veranda.

But all the same… it calls to me. Wish you were here? Oh yes, I most certainly do.

With each passing day I’ve looked at it more and more. My eyes are drawn to it.

On Monday, after a tense weekend of knowing what awaits me once Sunday is over, I return to my cell, turn on my computer, and take my first look of the week at the card.

Then work begins: a constant stream of emails, calls, online meetings, in-person meetings, assessments, reassessments, and always those annoying little, ‘I wonder if you could just pop this on your to-do list’ or, ‘Sorry Jan/Lynne/Suzie from accounts/Jeff/Steve haven’t quite been able to get to this, so if you could just help a chap out and…’

I get my head down and get on with things. Lunch breaks are a myth in this place, as is their reputed work-life balance. Most of the time, I hardly look up from my desk until half an hour after I should have gone home. There’s always more still to do, and I usually find I’ve two or three hours after Jan, Lynne or Suzie and the rest of them. That’s Monday madness.

Tuesday is not a lot better, though I quite often get a lunch break and I usually leave more or less on time, maybe an hour at most of overtime. I glance at the picture several times on a Tuesday.

Wednesday is easier—the lull before the end-of-the-week storm. Usually I catch up with my workload from the week before, which keeps me busy—so much so that I often forget all about the little hut.

Thursday things start to get crazy again—contracts to complete, information to chase, people to call, emails, meetings, and yet more calls followed by more meetings. It’s manic but still only a dress rehearsal for Frantic Friday. It’s a bit like grocery shopping the last weekend before Christmas—total chaos with everyone grabbing haphazardly at things just in case they never get any food again.

Friday. So close to the weekend but such a horror to live through week after week. That’s when I seek refuge the most often, gazing at the picture, really drinking in that impossibly blue sky, reflected in the improbably blue water, the wide expanse of deserted beach. As if by the sheer force of my concentration I could transport myself there. I can almost hear the soft sound of the water washing up onto the shore.

Our office is huge. And we are all tucked away in our little cells—our cubicles which accommodate our desk, chairs, computer, phone and trays upon trays of paperwork. I remember once years ago people used to say that using computer systems would make most administration processes redundant, and that there would be a huge reduction in paperwork. The strange, alluring legend of the paperless office. There are eighty-six of us on this floor. Eighty-six computers all warming the heavy recycled air with their hot little components. Eighty-six chairs on rollers that don’t quite roll. Eighty-six miserable people kept in little squares like veal calves or stray dogs waiting to be adopted, euthanised or housed temporarily until either retirement or death claims us—either one is good at the moment.

They play the radio over the PA system—to ‘keep up morale’. The problem is, there is only one radio, and eighty-six tastes in music. I find it so stressful to listen to boy bands and rock chicks and divas all day long. It’s mentally exhausting. But it’s not as bad as Talk Radio. That’s the worst. People ringing in to talk about the tragedies in their life, breaking your heart as you reply to the fourteenth email about the same—still unresolved—issue.

Then there’s the constant toing and froing of the workers—like being perpetually on some crowded stairs—figures bustling back and forth, not friends, not visitors, just milling about, clattering by in noisy heels on the wood-effect flooring. Dropping stuff right behind you. Laughing loudly or sobbing quietly into their coffee.

I bet none of that happens on that little beach. I bet it’s quiet all the time. If I sat on that little veranda, I bet all I would hear, if I closed my eyes would be the soft rustling of the palm trees, the sound of the occasional bird overhead, the sound of the waves and my own calm breath, moving in and out and washing away my tension.

I bet no one ever yells out ‘What the hell has happened to the accounting software updates?’ Or, ‘Does anyone know how to unjam printer seven?’

I bet if people ever came to that hut they would bring a small gift—some fruit, perhaps or maybe some flowers. And I’d make tea, and we could sit on that veranda and look at the water. We could talk if we wanted to, but I wouldn’t mind if we didn’t.

‘What happened to that blue folder marked ‘urgent’?’ my manager barks in my ear suddenly, and I accidentally type half a dozen letter Ys on the screen as I jerk round to look at him. He glares at me again. ‘Daydreaming again? For God’s sake, keep you mind on your work. Then maybe folders wouldn’t keep disappearing.’

He’s gone again and I’m fighting back tears. It seems so unfair that I’m here in this place when there are places like the one on the postcard on the wall. I know people say we all have bad days, you’ll feel better tomorrow. But this dread, this slow, cold death has been going on for decades. What if it’s not how I feel in a passing moment of self-pity but it’s the length and breadth of my whole existence?

This is all I’ve ever known. All I’m likely to know until I retire. It’s no good telling me that when I retire I can do all the things I’ve dreamed of, like travelling. Why do I have to wait until my life is almost over to begin enjoying it? I don’t just need a holiday, I need a whole change of life.

I’m hardly thinking. I reach out and grab the postcard off the wall. Do I dare? Am I crazy? I lean down under the desk to pull out my bag. Before I even know what I’m going to do, I’ve thrust the postcard inside and put my bag under my arm. I turn and look around me. I see nothing here that is mine. I get up. I walk away down the aisle to the lift, hardly daring to breathe.

At the lift door, I wait impatiently. When it arrives and the door opens, I feel a sense of excitement, of doing something terribly naughty yet wonderful. I step inside before anyone tries to stop me. As the doors close, I realise no one has even noticed me leave, and as the lift doors close, I wonder how long it will be before they realise I’ve gone.

No one even sees me walk out of the big double front doors. No one. I’m nothing to them. As I hurry down the hill towards the railway station, so aware of the precious cargo in my bag, I feel a slight pang of guilt.

Perhaps I should have left the postcard to brighten the day of the next poor sap that occupies my cubicle.

*

Criss Cross: Friendship Can Be Murder: book1

My cozy mysteries set in the 1930s, along my two books from the 1960s mystery series, tend to outsell my original series, the Friendship Can Be Murder series to a considerable degree, and so I often go months without mentioning or even really thinking about my first few books.

They aren’t ‘literary’ – none of my books are. And as they are written in the form of diary entries, in the first person, I realise that they are not a popular choice point-of-view-wise.

But nevertheless, I have a great affection for them. I mean, often I look at these books, and think, ‘What was I thinking, I must have been mad!’ and other times, I’m just really grateful that I took the plunge and published them, and I learned so much that was invaluable when I came to publish my later books.

Book 1 – Criss Cross – was published in February 2013 – eons ago! And so I thought I would share a snippet from that book. It might pique your interest, or it might not, but I’m just showing it some love for the first time in a long while.

To set the stage, Cressida, a very wealthy lady who is married to Thomas, has been pondering the practicalities of killing her mother-in-law. Needless to say, they don’t get on, and Cressida has decided the world would be a much nicer place without her mother-in-law in it. So she’s mulling this over in her diary.

I mean, the vast majority of normal people, people like you and I, we just instinctively know the correct way to behave. We apologise when someone else bumps into us, we begin every complaint with ‘terribly sorry to be a nuisance, but…’ We’re nice. Pleasant. We have a kind of in-built mechanism, straight as a line in damp sand, an invisible barrier which prevents us stepping beyond the realm of reasonable and acceptable behaviour.

Some people do not.

Some people never read the signs, they ignore all warnings and plough doggedly on, intent only on saying what they want to say and doing what they want to do. They don’t care about your feelings. They turn up unannounced and uninvited, they change your plans without considering your wishes. They don’t notice the look on your face, the halting of your phrase, they are oblivious to the cooling of the atmosphere around them. They never notice that infinitesimal pause before you continue to hand around the petit-fours, a fixed smile plastered on your face, inane pleasantries tripping off your tongue. Some people remain completely and utterly ignorant of all the signs.

Everyone else, metaphorically speaking, has grabbed their handbags and jackets, collected their madeleine-tins from your kitchen, tossed the keys to the Range Rover to their husbands, dashed out of the door leaving kisses still hanging in the air, and are already on the slip road to the motorway whilst That Person is still looking vaguely around as a few motes of dust drift gently down to the Axminster. They are wearing that idiotic expression that says, ‘Who? Me? What could I have possibly said?’ or even worse, ‘Well I only said what everyone else was thinking’.

And they are always, always, always completely unaware when they have outstayed their welcome.

There’s only one way to deal with people like that.

One way and only one way.

You have to kill them.

They never take the hint, you see. They fail to detect the slight frost in your demeanour as they witter on, insulting your loved ones, criticising your friends, your home, your life. Such people cannot be taught, changed or reasoned with. In the end, it’s just easier for all concerned if you get rid of them before they truly become a Nuisance and make everyone with whom they come into contact completely and utterly miserable.

And if that seems a little harsh, just think for a moment about what these people do to your self-esteem, to your inner calm, to your peace of mind. When the phone rings, these are the people whose voice one dreads to hear. One begins to dread all family occasions and holidays because of That Person. Frankly, it’s just not worth the emotional and psychological trauma of putting up with them. Life is quite challenging enough. And that is the stage I’ve now reached with Clarice.

So.

That said, it’s one thing to say to oneself, Monday, water plants, collect dry-cleaning, go to library, bake fairy cakes for the One-to-One day-centre fundraiser, and quite another thing to just sort of slip onto the bottom of your to-do list, ‘Oh and kill mother-in-law and get everything tidied up because dinner will be on the table at seven o’clock sharp due to drinks at eight-thirty at the Pearson-Jones’.

Things—unfortunately—just aren’t quite that simple.

The Grandes Dames of the murder mystery genre, practising their art in the early and middle parts of the twentieth century—what one might term the ‘Golden Age’ of detective fiction—espoused the pleasures of poisoning. Fly-papers were meticulously soaked to extract their lethal properties, berries and toadstools were carefully gathered and sliced and diced and surreptitiously introduced into steaming casseroles and tempting omelettes. On every domestic shelf such things as sleeping draughts and rat poison and eye drops sat unnoticed and unremarked, and a home was not a home without at least a few jars of cyanide or arsenic sulking forgotten in garden sheds and garages.

But, sadly, these items are notoriously tricky to come by nowadays in our ‘Nanny state’.

Of course, one watches these TV programmes that explain all about the forensic process, so that one is pre-armed with useful information. Knives wielded by the left-handed protagonist cut quite differently to those employed by a right-handed person. Equally so the short protagonist and the weak slash feeble protagonist.

In addition the actual wound inflicted by a classic blunt weapon can yield so much information about not just the weapon itself but also the attacker—the approximate height, stance, and even weight and probable gender, for example, and the ferocity of attack is sometimes a gauge as to motive and psychology. Firing a gun leaves residue on one’s clothes, gloves, and skin, and, contrary to popular belief, it can be quite a job laying one’s hands on a firearm.

According to the Daily Tabloid, a gun may readily be obtained at certain pubs in our larger cities for as little as £30, usually from a gentleman going by the name of Baz or Tel, but the problem is, these tend to be the kind of establishments one would hesitate to enter in broad daylight, let alone late in the evening.

Remember, it’s very difficult to get a decent glass of Merlot in this kind of hostelry, and one can’t just go in and hang about without making a purchase of some kind. If you do just go into the bar and stand or sit in a corner, the other patrons are likely to stare and nudge one another. They may even whisper to one another, ‘Wot jer fink er game is then?’ or possibly, ‘Oi Tel, woss up wiv er, she too good fer us or summink?’

This is especially the case when one gentleman approaches and states that he and his friend, Gaz or Stevo or even ‘Arrison would like to buy you a beverage of some description, usually a Mojito or similar, and you are forced to politely but firmly decline. They are apt to be offended.

And if you do order a nice glass of Merlot, there’s always a momentary look of confusion on the face of the Landlord as he tries to recollect whether he has a corkscrew within easy reach, or how long ago he opened the half-empty bottle on the back counter—was it recently enough to avoid the expense of opening a brand new bottle?

Then he’ll ask if you’d like ice and lemon. Might as well add a cherry-on-a-stick and a little umbrella! And there’s no point in trying to charge it to your Diamond Visa or Titanium Amex—they much prefer to deal with cash. It’s altogether a rather unpleasant experience.

In any case, Baz or Tel are always surprisingly suspicious when one asks them if it would be possible to purchase a small Eastern-European revolver, something with a fairly hefty slug but small enough to slip into a small Louis Vuitton clutch-purse, or at a pinch into a Mulberry shoulder bag, or even, and here I may be straying into the realms of fantasy or James Bond (same thing, I suppose), even into the top of one’s stocking.

The gentleman invariably looks a bit puzzled and says something along the lines of, ‘‘ere that sounds a bit dodgy Darlin’. I don’t do nuffin like that.’ Well, of course it’s a bit dodgy, one points out, one is illegally attempting to buy a gun in a corner of the car park of a fleabag pub at eleven o’clock at night, and paying cash into the bargain. How could one possibly see it in any other light than dodgy? It doesn’t matter if you offer them £100, £200 or even £500 at this point, they just walk away shaking their heads and saying, ‘screw that, I don’t wanna get cort up in nuffin dodgy.’

I ask you.

The criminal classes aren’t what they once were. But what other choices does one have?

A pillow over the face in the dead of night is liable to leave a filament of goose-down in the lungs of your chosen recipient. This will immediately be detected by any half-decent forensic examiner and blabbed all over the Car-Crash Telly channel in a late-night special called Toffs Who Kill or something of the kind.

A bit of a bump with the car in a quiet part of town on a wet Wednesday afternoon may lead to eyewitnesses or CCTV footage recording your number plate for posterity. For goodness sake, tiny fragments of paint from the wing of your vehicle may embed themselves in the depths of the wound you inflict, and these same may be delicately reclaimed by a steady-handed science-nerd in a lab coat wielding a pair of sterile tweezers.

Murder is a difficult road to travel. But one must bear in mind the old maxim that nothing worthwhile is ever attained without a struggle. Therefore it is imperative to be utterly committed, to be dedicated in one’s approach, to persevere in the face of adversity and to make copious notes so that one may learn from one’s mistakes. And of course, it goes almost without saying, each stage must be planned in intricate, even tedious, detail.

Today I went to my local stationer’s—It’s so vital, I feel, that one supports local businesses wherever possible—and bought two notebooks, a small index card box, a set of ruled index cards, and a rather nice fountain pen. My husband seems to be under the impression that I require these items to catalogue my shoe collection. Sweet! And not a bad idea… but first things first.

Now, I’ve worked out I have approximately six weeks in which to plan and carry out my little project, and still have time for a decent mourning period before we have to be in Scotland for the ‘glorious twelfth’, my Thomas’s cousin Jessica (lovely woman!) always has a house party. Actually this year it’s the ‘glorious thirteenth’ as the twelfth falls on the Sabbath, and one never shoots in Scotland on the Sabbath. Der! Thomas loves his shooting, so although I’m not a lover of messy pastimes, I always like to encourage him to relax and have a bit of fun. Stockbrokers work so hard, don’t they, and such high stress levels, one obviously doesn’t want them to crack up under the pressure!

***

Rewriting a novel – a nuts and bolts approach

(This post first appeared in 2017 when I was invited to do a guest spot on Pink Glitter Publishing for my dear friend and author Emma Baird.) And sorry, it’s another really long post this week…

I love rewriting. There, I’ve said it. I think I could be the only person in the history of the world who actually enjoys rewriting. In fact, I like it a lot more than writing the first draft. I hate that bit. Okay, maybe not hate. I love the thrill of writing the first 50 pages or so, when it’s all fresh and exciting, and it begins to unfold on the page. Love that. But…sooner or later I always hit the first-draft wall. I know it’s because I don’t plot. I’m a pantser. So sue me, I hate to plot. If I plan out my book, on some level I feel I’ve already told the story already and it loses it’s allure.

But that makes the initial experience of writing a draft rather an emotional, rivers-deep-mountains-high kind of affair. But… rewriting, oh that is a whole new thing. I LOVE rewriting. You are free from the ‘burden’ of creating and, taking a distancing step back from your work, you can begin to rethink, polish and tidy. I love to tidy. Sometimes I can only do this by laying all the pages out on the floor and wracking my brains over which order this mess is supposed to go in.

Hemingway famously said, ‘Write drunk, edit sober.’ I haven’t tried it, but it might work for you. I have to say, editing sometimes makes me feel like I need a little help…

Don’t revise as you go. I know there are always a few people for whom that system works, but trust me, it’s not for most people. You get so bogged down in the detail that you never progress. I know people who have spent literally years rewriting the same first three chapters and have never finished the book. It makes me so sad. Write the whole book, from beginning to end, always looking forwards, pressing on till you reach ‘The End’. If you can’t remember the names and places mentioned earlier in the story, just do what I do and put a massive X, or XX, or Mr Thingy, or What Was Her Name, The One With The Long Blonde Hair, in its place. Or refer to a list of names and places you create as you go along.

It’s so much easier to revise a whole book. Like creating a sculpture, you’ve got that solid block to chip away at. You’ve got the overall shape and idea to work on. Your book is your outline. (You can thank Mary Wibberley for that bit of advice in her book from decades ago, To Writers With Love.)

After finishing your first draft, don’t immediately start revisions. Unless you are on the clock and the deadline is almost on you (we’ve all done it), put the book away for as long as you can. This is the perfect time to write another book. Yes, really. Leave your first draft for at least a few weeks, ideally a few months, or even a year. You will need to approach it next time around with a good degree of detachment to get out of writer mode and into rewriter mode. Then, when you’ve finished the next book, while that is ‘maturing’, you can go back to the previous one. Or, if you’ve a) got all the time in the world, or b) you’ve decided to write a series and publish fairly close together, now could be the perfect time to write book three!

Gary Cooper pondering that tricky scene just before the end of chapter six.

So you’re ready to start. Read it. Don’t write, don’t type, don’t tweak, fiddle, twiddle or jiggle. Just read the whole story through from beginning to end. You are trying to get an overview, to reacquaint yourself with your story. Afterwards, make notes on how you felt about the book. Does the story hang together? Does the plot progress logically (unless an illogical plot is essential to your story)? Do you have that sensation of tripping up as you read—a bit like when you miss a stair and think you’re falling—that’s when there’s a problem, usually a plot problem. Try to pinpoint what it was that made you feel like that. Put a sticky note on the page, or if a computer file, highlight the section, or bookmark it, or make a note in the Track Changes feature if using Word.

If you’re frustrated by not being able to make changes as you spot them, or worried you might forget, again, as already suggested, make notes in the Track Changes feature of Word, or pencil notes in the margin, or use sticky notes if working with a paper copy, just don’t change the body of the book yet. Hopefully after rereading the whole book, you will be able to see the strengths and weaknesses of your draft. You will see what needs to go. If not, give it to a trusted friend or writing pal to read. Ask them to be honest and not just pat you on the back. Rewriting can feel very much like ‘fixing problems’ or putting right things that are wrong, and with this mind-set, this can be quite demoralising. Don’t get into this trap. Remember, you’re polishing, refining. Putting flesh on a flexible framework. It’s all good.

Save your original draft, and make a copy with a new version name, just in case in the end, you’re not happy with what you’ve done and need to revert and give it another go. Again, we’ve all done that, I think. Give yourself a fall back position.

Start tinkering. Start with the easy stuff like consistency of character description and behaviour, check the names, spellings, and personal details of all characters, check place-names are correct and consistent throughout. Then move on to point of view. With POV, consistency is everything. If you’re writing anything other than an omniscient third person viewpoint, then there will be things your main characters cannot know until it is revealed to them. Make sure you’ve nailed that.

Next, check for all those words you overuse. For me, that’s words like So, And and Also. A friend of mine uses Thus in almost every paragraph… it’s really annoying. If you use unusual words to describe something, don’t repeat them more than once (if that) as unusual words stick in the reader’s mind and break the wonderful spell you’ve created of suspending disbelief: the worst possible offence you can commit as a writer of fiction. Don’t rip your reader from the story and plunge them back into the real world. Make less use of unusual words such as coterie or Schadenfreude, these are words that stand out from the page, and stick in your reader’s mind. If you use clichés—please don’t—but if you absolutely must, do it just once, don’t repeat them. You also don’t need to show off all the big words you know. Nine times out of ten, the simple, direct phrase will work better than anything flowery, waffly or too complicated. Keep it simple.

And if like me you write books set in the 1930s or 1960s – check for anachronistic things – things that weren’t invented then, hadn’t been discovered, developed or couldn’t be done, differences of etiquette, speech patterns, all the stuff that has furious readers turning to Goodreads or Amazon and saying, ‘1*, couldn’t possibly get past the comment about using a zip! In 1920? Hardly!’ Because believe me, those little things make a big difference to a reader and can ruin the whole reading experience. If in doubt, ask someone, or ask Mr Google.

Brain boggle is a normal part of revising your book. Don’t worry about it. Have a nice soothing cuppa and relax for a bit.

Check hyphenation, apostrophe use, adverbs and speech tags. I don’t agree with the ‘don’t use adverbs, they’re evil’ approach, but use them sparingly. (See what I did there?) Keep metaphors and especially similes to a minimum, unless you’re writing poetry; they are also irritating. Don’t use fussy speech tags: he responded, she retorted, he espoused, she countered, etc. Once in a while is fine, but you don’t need to tag every speech, just enough so the reader knows who said what. The word ‘said’, 90% of the time, is the best speech tag there is, it’s invisible, the reader will pass on, aware of who is speaking but not bothered about how – that should be clear from the context and what they say. Again, keep it simple.

Tidy your grammar, get rid of typos and unnecessary repetition. Check your tense scenes or action scenes for long, meandering sentences that slow the reader down and take forever to read so that the reader can’t remember what you were talking about, and they have to go back to the beginning to reread, trying to figure out the meaning (like that, for example – four lines for one sentence??? Too much, unless you’re writing War and Peace). Check slow, reflective, emotional or romantic scenes for accidentally humorous clangers, (my often quoted, ‘and then he opened the door in his pyjamas’), or break-neck short sentences that rush the reader too quickly through the text.

Read it again. And again. Tweak as you go, now, but remember some changes will have a knock-on effect and need to be addressed multiple times throughout the book. Now pass the draft to your close friends/beta-readers/book group, for your first round of major feedback. You can’t, sadly, trust yourself entirely to write, polish, edit, proofread, proofread, edit and polish then proofread. you’ll need help. If affordable, get professional help, go with a recommended person or business, not someone you pluck from nowhere unless they have incredible feedback. Otherwise keep to a small trusted group of serious writers and readers who have excellent language skills and a kind, tactful way of letting you know when something’s not quite right. If you use more than one beta-reader, you might find they contradict one another – then all you can do is go with the majority and trust your gut.

Then—I hate to say it—you need to do it all again. I read somewhere that if you don’t hate your book by the time it is published, you haven’t done enough work on it, and believe me I’ve come so close to hating a couple of my books. Your book is not ready for your editor or proofreader until you are absolutely convinced that it’s perfect. Trust me, it won’t be. But it’ll be pretty close. Make sure you are not the only one to do the ‘extra final final proofread’ – you’ll definitely miss something.

As an editor, I’d say there’s nothing worse than getting a script that should be as close to release-ready as an author can make it, but turns out to be little more than a first draft. It’s like seeing a neglected child. And when you make your first sale or get a really wonderful review, it will feel like it was worth every minute.

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Routine – the nemesis of creativity?

I recently read somewhere that routine hinders the creative process. To really be creative, I read, we need to let go of organisation, routine and any kind of rigid preconceptions or framework, and allow ourselves freedom to explore in any direction and form that appeals to us.

I couldn’t disagree more strongly. If you think that routine is a hindrance and obstacle to being truly creative, I’d like to invite you to reconsider.

I suggest that it is routine that brings freedom and that freedom is often to be found within boundaries, not outside of them. Because parameters do one great thing for us, yes, even us creative types. They give us a sense of security. And if you feel secure, you can relax and have the freedom to be creative.

All art is created within boundaries. Or a framework of conventions, if you prefer to call it that. Mozart created wonderful music. Yes, undeniably, he was incredibly creative and had a flair for genius. But… Musical composition is, in many ways, one of the most rigidly ‘controlled’ art forms in that very deeply-held conventions dictate the agreed (not necessarily explicitly agreed) common elements that must be adhered to, in order to create any form of music. Sonatas have a specific set of rules, if you like. All sonatas have common elements that make them what they are. Similarly, concertos, arias, opuses and symphonies all have elements which dictate how they are created and underpin the very stylistic identity of a given piece of music.

Now I’m tempted to take a long detour at this point and show that this is exactly the same as the genre conventions in writing, that genres have their own conventions and that you can subvert or uphold these as you desire, but I won’t, as I’ve already waffled quite a bit, and I want to keep this blog-post fairly to-the-point.

Obviously we can all have an off-day. But you know when you are recharging and when you are simply wasting time or letting things slide.

Sometimes, I’ll admit, I do just go with the flow, letting words pour onto the page. There’s nothing actually wrong with that, but it doesn’t make for good reading, it rarely fits neatly into a novel, and I am a novelist, so that is what I need to write. Unfocussed, meandering writing, sometimes called ‘automatic writing’, is great fun, very cathartic and can help you to improve your writing overall. But for everyday ‘work’ writing, you need focus, not indulgence.

Within a framework, we have the freedom to be creative. Routine can be just such a framework. I’m actually not a very organised person with regard to my writing. But I have discovered that an established routine is my friend when it comes to cracking on with my WIP and meeting deadlines.

Why?

If you are organised, you can relax and focus on the job in hand. You make the most of your time, you crack on, (hopefully/usually) and have something concrete to show for it, so productivity is improved and you feel good about what you’ve achieved. Which makes it more likely you’ll do it again tomorrow. In addition, good output leads to increased experience, increased confidence and also positivity, and as many writers know, these are commodities that can be hard to come by.

Planned routine is anticipated, your subconscious inner writer is actually hard at work long before you sit down at your desk. You know what is expected, and what your intentions are. You’re prepared, in the zone. This means you ‘hit the ground running’ and are ready to go immediately with no need for warming up or getting yourself in the mood.

As I’ve said already, routine, planned writing leads to increased output and measurable results. You see the word count piling up and you see that you are moving towards your deadline or goal. This gives you the impetus you need to write through the tough sections of your book, those tricky little scenes and the mid-book blues, even through the ‘I don’t want to do this anymore’ sulks.

For me, one of the main advantages to this type of organised approach to work is that I remain ‘current’ with my WIP. I literally don’t lose the plot. By that I mean I don’t lose track of characters and plot strands and the atmosphere of the book the way I do when I’m here and there and all over the place writing whatever takes my fancy. The resulting draft is more seamless, the scenes transition more smoothly, and small details are less likely to be overlooked. I’m totally immersed in my story.

They say it takes six weeks to develop a new routine: three weeks to break old habits, and another three to establish new ones. Give yourself six weeks, starting today. Who knows, by the time we reach the New Year, you may be firmly in the Routine is my Friend camp.

***

And now it’s over to you…

As you know, I write genre fiction – that is to say it fits neatlyish into a specific genre type of book – I write mysteries. My books are not, by any stretch of the imagination, literary, nor are they ‘general’ what ever that is. Some writers are quite apologetic and embarrassed that they don’t write something high-brow. Not me. I believe that genre fiction has huge benefits and there’s no need to feel that I ‘only’ write mysteries: ‘Oh it’s only a mystery’ or ‘I really only like romances, I’m afraid.’

You see, I believe that books are lifesavers. Books are companionship for the lonely, entertainment for those who are bored. It doesn’t matter if you can’t hear, or if you can’t walk, if you’re old or young, you can enjoy a book. And if you can’t see, you can listen to audiobooks. Books can be a comfort and a much-needed means of escape from what is sometimes an anxious, or difficult world. We all need a break – and a book is perfect for that.

I had cancer a few years back, and whilst I had tests, surgery, appointments, sat in busy, soulless waiting rooms, and anxiously waited for a prognosis, I read books. It was a relief to get out of myself and my thoughts and into a world where the only bad things that happened would be solved by a detective and the villain locked up. Bliss! A few hours free of my own troubles was just what the doctor ordered. I realised as never before just how wonderful it was to get lost in a good book. I was so grateful to the authors who offered me that respite.

I was lucky, and I am now free of cancer and healthy, but my love and respect for books and their authors will never die.

So a little while ago, I asked my mailing list subscribers some questions about what they love. Here are a few of the most popular responses I had:

Q1. I asked, What is the best thing about finding a new book you love?

You said:

  • Finding a new book can be tough, and it’s important to find relatable characters, an engrossing plot and a style that appeals.
  • Many people said they were drawn by the cover – which is exactly what they are designed to do – to lure you in!
  • For some, finding a new book or series is like meeting a new friend.
  • When readers find a new book or series, they love to tell their friends and family about it!
  • Readers like the idea that the book will be theirs to read again and again, and to refer to, a book that adds to their knowledge or understanding (mainly reference books)
  • People love the sense of starting out on a journey, of ‘meeting’ new people and having adventures along the way. A kind of vicarious holiday.

Q2. Do you always read the same genre, or do you like a lot of different types of book?

You were largely split over this, with many people saying they read anything and everything, and others stating that they only ever read the same kind of books. I’m largely that way myself. I do enjoy the odd history book and classics, and poetry, but almost always I turn to crime, figuratively, of course!

Q3. When do you read?

Again, responses were quite split between those who read during the day, usually with lunch or a coffee or cup of tea, and those who read almost entirely at night before going to sleep. Some people read during commuter journeys on trains and buses. Now that I’m at home during the day, I tend to read with coffee or lunch. When I was working in the big wide world, I used to read on the bus or when I had a lunch break. It’s so nice not to have to sit on a bus for hours on end anymore.

Q4. Actual book or eReader?

The odds were almost overwhelmingly stacked in favour of ‘actual’ paper, hold-in-your-hand-and-sniff-the-pages books. Most people who read on eReaders said they did so mainly for the convenience. I must admit I’m the same. My trusty eReader goes with me when I travel or am away from home, but when I’m at home and reading in comfort, it’s always a ‘real’ book. The great thing about eReaders of course, is your nearest and dearest have no idea just how many eBooks you’ve bought – that little secret is between you and your gadget. One person pointed out that the advantage of reading at night on an eReader is that you don’t need to have a light on in the room, so you don’t disturb your partner. A great point!

Q5. What are your other favourite past-times?

Wow we have a lot of pastimes! Here are just a few:

Writing! Reading, obviously. Walking the dog, taking pics of your cats, gardening, flower-arranging, cooking, various arts and crafts including model-making, embroidery, card-making, painting in oils, painting in acrylics, crochet, knitting, drawing, sewing, photography. Then we had the DIYers, the mad exercise buffs, the tennis-players, the golfers, the swimmers, the dancers, the joggers, the cyclists. You like playing board games and card games, going to the pub, spending time with family and friends, eating out, sport, sport and more sport. You love travel. You love learning new things at evening classes. Some of you like to help others in the community, or volunteer in charity shops or care homes. You play musical instruments, you babysit your grandkids, and all kinds of other amazing stuff. You guys are seriously impressive! No wonder you sometimes need to sit down with a book and just chill.

And lastly…

Q6. What are your favourite TV shows, if you watch TV?

Again, a huge range of results here: people gave general responses such as drama, crime, reality shows, documentaries, comedy etc. but we also got some very specific shows mentioned: Peaky Blinders, Line of Duty, Gogglebox, Brooklyn 99, Poirot, Family Guy, Outlander, Once Upon A Time, Bridgerton (I know why you like that!), The Bay, QI, Mock The Week (RIP – and yes I did sign the petition…), Would I Lie To You, I’m A Celebrity Get Me Out Of Here, The Great British Bake Off, Strictly Come Dancing, Made In Chelsea, Any Star Trek, Star Wars, or Marvel thing, Famalam (not for those who don’t like very, VERY naughty words… but truly hilarious), Unforgotten, any football, all cricket and rugby, True Crime documentaries, and so many more…

I hope you find this as fascinating as I did. Some of the responses were so similar to my own, I feel we could easily be best buds.

***

And I think we all know why Jane Austen adaptations are so popular these days…

The Language of Flowers #flowersinbooks #literaryquotes

Flowers. They are always mentioned in books, right?  Whether they are a metaphor for the transient nature of life, or for resilience, or else portrayed in a more traditional way as indicating someone’s feelings or emotions, they are the writer’s favourite motif.

In one of my books, they represent something sinister–a kind of veiled threat, when Cressida received dead flowers from an unknown source. But flowers have been written about for centuries by some of the world’s greatest authors.

Do you recognise all of these quotations? There’s no prize, but you can feel very proud of yourself if you do! Hopefully after reading a few of these, you’ll feel as though you’ve had tea in the garden on a sunny afternoon.

“If a kiss could be seen I think it would look like a violet.”

L. M. Montgomery: Anne Of Avonlea

″‘Really, there’s nothing to see.’ Nothing… only this: a great lawn where flowerbeds bloomed…”

Philippa Pearce: Tom’s Midnight Garden

“How extraordinary flowers are… People from a planet without flowers would think we must be mad with joy the whole time to have such things about us.”

Iris Murdoch: A Fairly Honourable Defeat

“A morning-glory at my window satisfies me more than the metaphysics of books.”

Walt Whitman: Leaves of Grass

“In joy or sadness, flowers are our constant friends.”

Okakura Kakuzo: The Book of Tea

“Through primrose tufts, in that green bower,

The periwinkle trailed its wreaths;

And ’tis my faith that every flower

Enjoys the air it breathes.”

William Wordsworth: Lines Written in Early Spring

“Nobody sees a flower – really – it is so small it takes time – we haven’t time – and to see takes time, like to have a friend takes time.”

Georgia O’Keeffe

“All day in grey rain

hollyhocks follow the sun’s

invisible road.”

Basho (translated by Harry Behn)

“Have you blossoms and books, those solaces of sorrow?”

Emily Dickinson: Letters

 

“All the men send you orchids because they’re expensive and they know that you know they are. But I always kind of think they’re cheap, don’t you, just because they’re expensive. Like telling someone how much you paid for something to show off.”

Winifred Watson: Miss Pettigrew Lives for a Day

“You can see the goldenrod, that most tenacious and pernicious and beauteous of all New England flora, bowing away from the wind like a great and silent congregation.”

Stephen King: Salem’s Lot

 

“And over walls and earth and trees and swinging sprays and tendrils the fair green veil of tender little leaves had crept, and in the grass under the trees and the gray urns in the alcoves and here and there everywhere were touches or splashes of gold and purple and white and the trees were showing pink and snow above his head and there were fluttering of wings and faint sweet pipes and humming and scents and scents.”

Frances Hodgson Burnett: The Secret Garden

“There has fallen a splendid tear

From the passion-flower at the gate.

She is coming, my dove, my dear;

She is coming, my life, my fate.

The red rose cries, “She is near, she is near;”

And the white rose weeps, “She is late;”

The larkspur listens, “I hear, I hear;”

And the lily whispers, “I wait.”

Alfred Tennyson: Maud Part 1

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Book Shelter Blues

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Secondhand. Preloved. Used. Old. Whatever you call books that are not new, it amounts to the same thing: neglected; unloved; abandoned; discarded. Even the ‘amusing’ epithet of ‘preloved’ simply indicates love that has been given then withdrawn. No longer loved.

Yes, I know that many people see these places as Aladdin’s caves filled with wonder and possibility. Not so for me. For me, a secondhand (let’s call it what it is) bookshop is a bit like going to an animal shelter. My first response in both cases is always one of dismay – there are so many here! Secondly, I think, ‘how can I possibly save them all?’

I went into two such shops today.

In shop one, I was frustrated by the lack of genre categories or alphabetical ordering. I felt I had to scan the entirety of the store to be sure I didn’t miss anything vital. As it was, when I paid for my ‘finds’, or as I prefer to call them, my ‘adoptions’, I couldn’t shake the certainty that I’d missed something. But the ‘usual guy’ was on holiday and the woman standing in for Usual Guy was not versed on what was where. She laughingly told me that if Usual Guy had been there, he could have immediately told me where any of my chosen authors might be stationed. Ha ha! Oh my aching sides. Not.  They also had an overflow into an empty shop front next door – and even though I could see literally dozens of boxes heaped up, she wouldn’t let me go in there and poke about, and neither could she tell me what was there. I took my five rescue-books and left, slightly disgruntled.

The second shop was somewhat different, and yet, underneath all the glamour, exactly the same. It was squeaky clean and neat as a new pin. I see books neatly stacked on actual shelves or laid out in boxes, spines uppermost, and the boxes have labels such as ‘Romance’ and ‘Family Saga’, and also ‘Romance and Family Saga’. I stand in the doorway to get my bearings and the proprietor bustles up in a housecoat, carrying a duster.

She asks if I’m looking for anything in particular. Really all I want to do is browse. How can you tell someone that you won’t know what you want until you see it? But I fear she is not really, in spite of the location, a bookish person. I have a sense that browsing is not to be encouraged, and I drag my ‘little book of books’ out of my bag. I tell her I have quite a long list. She’s not bothered by that. She’s waiting. So, under pressure, I panic and begin to blurt out a few names.

‘Patricia Wentworth!’ I feel a bit like Harry Potter frantically trying to come up with the right spell. She gives me a sad smile, and shakes her head.

‘Not done much for a while, has she?’

‘That’s because she died in 1961.’ I explain. I could tell her the day and month, but I’m not convinced she’d be interested, so probably for the first time in my life, I just shut up.

She nods. ‘Ah.’ It appears that being dead is a major hindrance to having your book in stock at a secondhand bookshop. I’d have thought it was the perfect spot, but no. I’m a bit worried about continuing with my list, as I feel most of my favourites are a bit on the no-longer-with-us side. But she is looking at me with an air of expectation. I’m not sure she’s really helpful, I think she just wants to get back to the dusting.

‘Victoria Holt? Mary Stewart?’

That smile again. The same shake of the head. Sorry. I look at my list again and wonder if there’s any point in carrying on with this charade. I feel already know the answer, but perhaps due to some previously-unnoticed masochistic tendency, I ask anyway.

‘Ellis Peters?’

‘Nope, not him either.’

‘Her,’ I say and turn away, intensely irritated. I scan the shelves. They are packed with books by people who are dead – how come my authors aren’t here?

‘Try the clearance boxes out front.’ She suggests. I nod. Somehow even as I rummage through these boxes I know I’m wasting my time. Eventually I give up.

And as I walk away, I’m pretty sure two whole shelves of Jean Plaidys and Catherine Cooksons shouted after me, ‘Take us with you!’ and ‘come back!’ and possibly even, ‘Help!’

It’s the ones left behind that hurt the most.

***

A sneak peek of Miss Gascoigne book 1: A Meeting With Murder

As you may know, I’m working on the first book of a new series. It’s another cosy mystery series featuring a female amateur detective. The series is to be known as the Miss Gascoigne mysteries, and Diana ‘Dee’ Gascoigne is the detective. It will be released on the 30th September, and the Kindle version is available to pre-order. The paperback and large print paperback will be published shortly after the eBook.

If you have read any of the Dottie Manderson mysteries set in the 1930s, some of these names may sound familiar.  Dee Gascoigne is the baby Diana who is born at the beginning of The Last Perfect Summer of Richard Dawlish. Now it’s 1965, and Diana is almost 30, recently separated from an abusive husband and still carrying a not-very-secret crush for her not-quite-cousin Bill Hardy, detective inspector, and eldest son of Dottie and–you’ve guessed it, William Hardy from the Dottie Manderson mysteries. (SPOILER!!! They do get together, don’t despair!)

In A Meeting With Murder, Dee has just lost her job due to the scandalous fact that she plans to divorce her husband–divorce was still a very big issue in the 1960s. Next, following a bout of bronchitis, Dee goes off to the seaside to recover. Of course, even in a small village, or perhaps because it’s a small village, there are malign forces at work. Dee, like her Aunt Dottie, feels compelled to investigate, and perhaps start a whole new career for herself.

Here’s a short extract from A Meeting With Murder: Miss Gascoigne mysteries book 1.

I hope you like it!

Dee had a leisurely afternoon. She took another walk around the village, marvelling that she didn’t happen to meet anyone, considering the place was so small but well-populated. She had afternoon tea with Cissie in what was rapidly becoming a ritual, one that she would miss a great deal when she finally returned to London.

That evening, Dee looked at the two letters yet again, mulling over them long and hard. She knew them by heart now. Not that there had been much to learn, both were short and direct.

The first one, in the usual style of cut out words or single letters from magazines or newspapers, said simply, ‘Your seCREt shame will NOT be a secret much lONger.’

The second, more recent one, said, ‘Your bAstard cHILd will pay for YOUr sin.’

The word bastard had been made up from several sections of type: the b was a separate letter, then the Ast were together, presumably formerly part of a longer word. The next a was a single letter again, then the final two letters, rd, were once more part of the same word, and likewise, the YOU of your was formed of a word in capital letters with an extra r added to the end.

On the one hand, it was laughable that anyone would think this was still a scandalous secret in the modern era. But on the other, Dee remembered what Cissie had said to her when she first explained about the poison pen letters. It must have been a shock, Dee decided, for Lily to open the envelopes and find these letters inside. To think that someone who knew her, someone familiar to whom she no doubt spoke on a regular basis, had composed these spiteful notes.

Dee sat for a long while pondering the letters. At last, she put them away, neatly folding them and slipping them into the zipped mirror pocket of her handbag for safe keeping.

The next morning she was up bright and early, had her breakfast, and humming along to a song on the radio, she tidied the cottage and got ready to go out to meet her brother’s train, eager to see him, eager to tell him everything she’d learned. She came out of the dim house into bright sunshine, and walked directly into a man going past the cottage.

Then as he gripped her arms to steady her, and helped her to stay on her feet, she saw who it was.

‘Oh!’ she said, covering her sense of shock by becoming angry instead of flinging herself into his arms. ‘So Scotland Yard finally turned up, did they? A bit late in the day.’

The tall man in the smart suit—surely a little too smart for ordinary daywear, especially in the country, Dee commented to herself—took a couple of steps back, clearly as shocked as she was at having literally walked right into her as she came out of the front door of the cottage as he and the other man with him were walking by on their way from the railway station to the pub.

Just looking at him was enough to set her heart singing, much to her annoyance. Meanwhile he was frowning down at her with what was known in the family as the Hardy Frown, his dark brows drawn together over long-lashed hazel eyes that were just like his mother’s.

‘What the hell are you doing here anyway? You’d better not be interfering in my investigation. I’m not like my father. I don’t allow private citizens to meddle in official police business.’ He was holding his forefinger up in a lecturing manner. 

‘Oh shut up, Bill, you’re so bloody pompous,’ Dee said and stormed off.

Hardy sighed.

‘I take it you know that lady, sir?’ the sergeant asked, eyes wide with curiosity, following the lady as she went.

‘You could say so, sergeant. Listen to me. On no account are you to tell that woman anything about this case. Don’t give her documents to read. Don’t accidentally leave your notebook lying around for her to ‘just happen to find’ and snoop through. Don’t answer any of her questions, or tell her our line of questioning, or anything about our suspects, or just—anything. She comes from a long line of nosy women. Do you understand me, sergeant?’

‘Ye…’ the sergeant began.

‘Because if you do any of those things, believe me, I shall make your life a living hell.’ Hardy caught himself and stopped. Then added, with just a hint of a smile, ‘Not that I don’t already, I expect you’re thinking.’

‘Oh sir, as a mere sergeant, I’m not paid to think.’ Sergeant Nahum Porter risked a grin at the inspector.

Stifling a laugh, Hardy said, ‘I’m very glad to hear it. Now come on, we’ve got things to do.’

many thanks to clash_gene at Shutterstock for the wonderful cover image.

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