Looking back at old work

I saw this quote by Dean Koontz recently and it made me reflect on all the other stories that haven’t made it as far as publication. I’m talking about my stories here, not other peoples’.

I have written many, many more books than I have published. and I think that is often the case for other authors.

As authors, we have to serve an apprenticeship of writing. We have to learn our craft, just like a teacher learns to teach, a surgeon learns how to operate, or a dinner lady learns where the kids have to line up to come into the dining hall at school.

No one ‘just knows’. Okay, you might have a facility with words, you might be brimming over with fantastic ideas, but that doesn’t guarantee that what you write will be readable or marketable. and you need to be able to repeat the performance again and again.

Another (very) early work, written on the back of Weetabix packets… circa 1970

So it doesn’t surprise me that even an eminent author like Dean Koontz may have dry times when nothing seems to work sales-wise. Or that he seems to feel it took him a while to get started.

When I look back on some of my early stories, I cringe at the crass ideas, the overused plots, the terrible, stilted dialogue. Or the lack of knowledge. In one story I had a crocodile chasing a woman for miles up a steep hill. (Hint, that wouldn’t happen in real life. Like me, crocodiles are not fans of long steep walks uphill.)

In a way it can be discouraging to look back and think, I had zero talent, this is awful. (And, quite often people still think this about my writing, even though I’ve come on in leaps and bounds over the last thirty years!) On the other hand, every so often you can come across a paragraph, or even just a phrase, where the sun seems to shine through and you think, now that, is most definitely, a good bit.

So in no particular order, here are some of the stories that didn’t (yet, though who knows) make it:

I still mainly write my first drafts by hand – that gives me the excuse of buying more notebooks…

Jobshare: the idea was, a famous author hires a stand-in to take his place so he can disappear for a while to concentrate on writing not just a new book but a whole new genre he has not tried before. The lookalike was murdered, but who was the intended victim – the author or the lookalike. I think we’ll probably never know. This one had more holes than a fishing net.

The Soft Impeachment: even worse than it sounds, this was a cringe-fest of a romance. Luckily for you, I haven’t published it. But it was the first full length novel I ever completed, back in the early 1980s, and it was this that showed me I could do it, no matter what anyone said.

Dolly: I changed the working title of this to Babygirl once I started work on the Dottie Manderson mysteries, but it’s still never made it out of the filing cabinet. The idea is that a famous actress has just buried her adoptive mother and goes in search of her birth mother, only for her birth mother to be murdered. Who was the villain, the actress’s boyfriend, her unknown father, the dodgy care home owner, or someone else. Hint: I have no idea.

These were the only really early ones I actually finished, though there are a number of others that stalled around the third to halfway mark.

Even a bad book needs a bit of planning!

These are the almost-rans, written within the last twenty years and still in line for revision and maybe even, one day, publication:

Humanity: this was my vampire novel, written in 2002-3 after we returned from Australia after five years away, and I wanted to do something new. Sadly, I lost faith in the project when the TV series Being Human came out. It’s the same idea really – can a vampire hold on to their human qualities and carve out a life for themselves in the real world? Here’s a teeny extract:

  He moved along the road.  Cautious.  Keeping to the darkest shadows.  Nothing coming from either direction.  Middle of the night.  Not a single light on in any of the houses.

  He wiggled the fingers clutched to his side.  Sticky.  Very Sticky.  (Q: What’s brown and sticky, Uncle Neal?  A: A stick!  Nephews and nieces laughing.  God, kids tell such corny jokes.  Seems like some things never change.)

  As he crossed a pool of lamplight, he didn’t need to look down at himself to know that he was still bleeding.  The blood had soaked one side of his shirt and now it alternately flapped heavily or stuck to him, cold, and filled his whole body with a nauseating chill that had become frighteningly familiar.  It felt like every heartbeat pumped more blood out of the tear in his body.  The wound felt massive, like a huge rip in the side of an ocean liner, yet he knew it wasn’t as bad as that.  But he needed to rest.  Had to get himself inside somewhere. 

I have a soft spot for this book, so maybe one day, it will see the light of day…

The Refuge: another book that I can’t quite let go of, and have been thinking of reworking and releasing for several years now. It’s about ‘found family’ I suppose, though I didn’t know that term then. It’s about people surviving the destruction of their town and fleeing to a refuge in the mountains, and their attempts to survive, and like Humanity, it’s about whether we can hold on to ourselves in a time of crisis, and rebuild a life. If you like, you can read more about it here:

The Silent Woman: is a ghost story with a bunch of people who are ghost hunters, but it’s more to do with solving mysteries than just investigating the paranormal. There are a couple of chapters and a bit more information about this book here: 

Like many authors, I often feel I am made up of things I have written. A bit like, I don’t know, baggage maybe, or more like photographs of loved ones, we writers carry these stories with us everywhere we go, no matter what we do, and I believe that every new story we write is built upon the shoulders of these story-memories. It’s part of who I am, and I love it.

***

Writing a believable character

I think we all know that a work of fiction could not exist without its characters. They act out the plot, control the information given to the reader, and they are the people we would like to be if we ourselves were the centre of the work. They are our representatives in the story world in many respects. I think that is especially true in the kind of books I write – fairly traditional, solve-along-at-home mysteries.

One of the things I love about characters is their ability to be brave, cowardly, wicked or audacious, righteous, and definitely unlike me, astute and quick-thinking! They are able to be either in the right or the wrong place at the right or the wrong time. Always in the thick of the action, the excitement, leading the way to discovery. I love that my characters can do all the things I can’t – lead exciting lives in glamorous, or not so glamorous places, rub shoulders with criminals and celebrities, solve mysteries, dancing until the early hours of the morning, and of course, go to nice places! They rarely have to worry about shoving things in the washing machine, getting the groceries sorted, puzzling over a newly appeared patch of damp on a ceiling, or a lost roof tile. They don’t have to clear up after pets or puzzle over the right home insurance.

Hopefully this will be out in 2025. I’ve written it, I promise.

In many ways, a minor character can be fairly cardboard – not every character needs to be – or indeed can possibly be – unique. They are like the stock characters of a theatrical production. There are only so many human traits, qualities and physical looks that can be applied to characters. In a lot of cases, I just suggest an appearance or a type of person and let the imagination of my readers furnish the rest of the details. If you’re anything like me, too much description to read slows down the action and is the bit you have a tendency to skip.

But the main characters – oh they have to be fully realised and to become completely real, fully-rounded and believable for the reader, or else there is no empathy, no immersion in the story. If you can’t lose yourself completely in a murder mystery, then there is nothing to be gained with the final revelation, the answer to the riddle of the story. It just won’t matter. I love it when I close a book at the end, and look around me, almost surprised to see the world is still turning. I had forgotten the real world, and part of my imagination, part of my self is still lost in story land. That is a job well done by the novelist. It’s what I try to aim for, though I often worry I don’t succeed.

For me, a main character has to be imaginable. I need to be able to picture that person, as if they were real, moving and inhabiting some invented space in my head. I like to think I might recognise them if I met them in real life. I want to know how they think, how they feel, what they like, what they hate. I want to know who their friends are, how they fill their spare time, what they do to pay the bills, all the real life stuff that applies to ‘us’, the readers.

Honest this one is going to be finished one day too…

If they don’t engage with the world around them in the book they are set in, they won’t feel real to me. They need to act like real people. They must be impacted by social issues, by world events, by the art and popular culture of their time. I want to see them dancing, singing, talking, crying, laughing, eating, drinking, catching a bus or train, driving somewhere, getting caught in the rain, falling in love, or visiting their mother. They have to have a life that extends beyond merely the demands of the mystery. They can’t just be clue finders.

That said, I try to add what I think of as timeless values to my characters. I don’t want them to exhibit the tendencies and faults of their time. I don’t want my main characters to be racist, sexist, homophobic, or bigoted. I want them to transcend what might have been widely-held attitudes of their day, because those are things which are important to me. I don’t want them to appear too sanctimonious or holier-than-thou either, so it’s a fine line between Dottie, Dee and so forth being a decent person and being way too prim and proper.

But hopefully it’s keeping them on the right side of believable, and relatable, and making the story the stronger for it. I try to make my books character-driven rather than event or plot-driven, as for me, a story is all about its players.

So what’s happening with me now?

Just a quick catch up for you. I had hoped to have at least two if not three more bosk out this year, but it just hasn’t happened. It’s been a tough year. diagnosis of breast cancer, followed by chemo, two surgeries, radiotherapy and now, I’m about to start yet more chemo mean that I’ve been utterly exhausted and not able to write very much at all. I’ve done perhaps half of Dottie Manderson mystery book 8 Midnight, the Stars and You. and I’ve written about half of a new Friendship Can Be Murder mystery, to be called Dirty Work, and… *sigh* I’ve just started book 3 of the Miss Gascoigne mysteries, Through Dancing Poppies. I wrote a stand-alone novel The Cousins last year but haven’t had the oomph to do anything with that yet, so it’s all in the pipeline. Hopefully 2025 will be a n easier year.  On the upside, a new German translation of the first Miss Gascoigne mysteries Eine Begegnung mit Mord will be out on the 11th October, so that’s something, I suppose.

Onward and upward. 

***

Looking ahead to Autumn and new things…

Our maple is already wearing its Autumn hues

It’s still the height of summer (not that you’d know it from the 19C and wet weather we’ve had this week, in contrast to last week’s high 20s and even low 30s) yet already I’m turning my face towards Autumn.

I know I say this every year, but for me, it is not Spring, but Autumn and Winter that form my season of creativity. I have no idea why this is. I don’t know why, but for me, autumn is not the season for rest and consolidation, but of flights of imagination taking wings. I get quite excited about the approach of autumn and winter. Maybe it’s the cuddly jumpers, I don’t know.

It seems as though the rest of the world is full of new life in the Spring. Is it because I’m an October baby, my lifecycle naturally starts from Autumn onwards? Or because when we lived in Brisbane what seems like a lifetime ago, October was in the Spring? But how can five years there undo the habits of the other fifty-nine years I’ve lived in the Northern Hemisphere? Or maybe it’s because for parents everywhere in the UK, Autumn is when the children go back to school and you at last get two minutes to sit in silence and just enjoy hearing – nothing. Ah, bliss!

Started a new notebook today too – a cause for celebration in itself!

As I’ve mentioned a few times, in our house things have been tough since last October but now, today, I feel something stirring again. It’s a feeling, a bit like being pregnant, a sense of something wonderful happening in the hidden depths, a private joy that no one else is able to share or even aware of. It’s the buzzing of new ideas, of fresh creative energy, a sense of gentle excitement that says, ‘Hmm, I think something is coming…’ I love it, it’s such a special feeling, and it can only mean one thing.

I think I feel a new story coming on…

***

Unmasking the culprit

This post kind of continues from a previous post about how the killer in a traditional murder mystery such as the ones I write–or try to–is always ‘one of us’. It’s important that the killer IS one of us. (You can read that one here, if you like: One Of Us?)

But I have to say, if I read a mystery and the perpetrator is revealed as someone barely mentioned, or the author uses that old chestnut, the guilty butler, or any other member of staff, I am SO bitterly disappointed–with both the story, and in fact the author. Because it just feels like a let-down, like the author ‘phoned it in’, as they say, ie couldn’t be bothered to do a proper job. Even some of my favourite authors indulged in this heinous practice!

In his essay, The Decline of the English Mystery, George Orwell wrote, ‘The perfect murderer is a humdrum little man (or woman, I say!) of the professional classes.’

I think most people could agree that when they read a murder mystery, the most satisfying part of the book is trying to beat the sleuth to the finish line. Or at least, to be able to nod sagely at the end and say, ‘I knew it!’ as the killer is revealed.

We’ve come a long way from this scenario: ‘God must search out the solution to this crime because only He knows the secrets of the heart.’ (Revelations of a Lady Detective, William Stephens Hayward, 1864) Now, we as readers want to take God’s place and work it out for ourselves. Is it because we want to impose a rigid order on our lives, or have complete control over something? Who knows. We could write a philosophical paper on why we enjoy crime books when we (most of us, anyway) are vehemently opposed to violence in real life.

I have to say, I do get a thrill when the murderer turns out to be someone I had completely ruled out or overlooked. I like to be surprised but I also, more than anything, like to be convinced. So if the evidence is flimsy or entirely circumstantial, I don’t buy into it at all. I need to know the why of it far more than how or all the other questions. After all, in a traditional type of murder mystery the guilty party must have a compelling and urgent necessity to take such a drastic act. Otherwise, they could simply move to another town and live under a new name. Or something normal like that.. and bear in mind that many of the most popular murder mysteries are set in the past when there was capital punishment in Britain, and that in many other places there still is today. Why would someone risk losing their own life if not for some absolutely necessary reason?

So here are a few must-haves for the killer of a traditional murder mystery:

  1. They have to appear innocuous or be excluded from being ‘the one who did it’.
  2. If possible they should be genial, amiable and pleasant to most people, and get on with everyone (apart from the victim lol )
  3. They will be very aware of every move the victim makes, and take a lot of trouble to keep themselves informed.
  4. They need to be pretty intelligent to outsmart–for a while at least–the sleuth who will be coming after them.
  5. In spite of being pleasant, genial etc they also should reveal–gradually–an arrogant side with a large dollop of superiority complex: they believe they are able to outwit everyone, and are better than anyone, and that their motive completely justifies or exonerates their action.
  6. Lastly, they will crave attention and status; this means they love to get involved in the investigation into the death of the victim. They want to keep themselves informed in order to plan their next move, and to make sure they are safe.

In mysteries, many killers merely carry out the act to cover their butts: the victim knows something, or has the power to do something that threatens the killer’s safety in some way, whether it is their actual liberty at risk, their financial position, their social status, or the safety or fidelity of a loved one. It must be an utterly compelling reason for them. Occasionally they act out of revenge or pure hatred.

The killer displays a persona – derived from the latin word for mask – to hide their true nature from everyone they encounter.

If they are truly psychopathic, they will feed off the admiration of others and continually find ways–subtle and not-so-subtle–to make sure everyone knows how clever they are. Sometimes this will lead them to offer to help the detective, or sometimes this will lead to another death, as they either have to cover up the first crime, or feel a need to display their ingenuity.

In the case of serial killers, another death can be the result of their urge to experience that sense of fulfilment and power they got from the act of killing itself. They crave that thrill as an addict craves their addictive substance. The pressure is then on for the sleuth to find the killer to prevent yet another death. And often, the author will ensure that tension ratchets up a notch or three by having the next potential victim someone the sleuth really cares about.

In fact the concept of the powerful killer is no such thing. As the story reaches its denouement, they are revealed not as powerful but weak, because they do not have the ability to be satisfied with being ordinary, or to shake off the slights in life that the rest of us just have to get over.

The most exciting, most fulfilling moment of the story, for us as readers, is that moment when the detective shines the spotlight on Mr or Ms Nice-Person, their mask of geniality is ripped away and they are revealed for the evil beast they truly are. And our reaction to this – surprise or joyous confirmation of our own suspicions – is a tribute to the author’s dexterity in manipulating our expectations.

Wow!

 

The world of the murder mystery

Not sure this guy is really a detective, or just a businessman who is late for a meeting.

As you may know, I love traditional detective fiction aka murder mysteries. You can get mysteries where there’s no murder, but if the stakes aren’t high, my attention isn’t grabbed. And if you’re here, reading this, the chances are, you probably like them too!

In the old Golden Age of detective fiction, there is generally a Countess clutching her pearls, casting disapproving looks at the corpse leaking blood onto her Aubusson carpet, and declaring that surely the perpetrator is some stranger, some tramp or wandering vagabond. ‘It can’t possibly be one of us.’

For me, the thrill of these books is the certain knowledge that, yes, it is most definitely one of ‘us’. One of these characters, outwardly so genteel, so polite, offering around the drinks decanter, or standing when a lady comes into the room, or smiling pleasantly and asking after the vicar’s marrows, it’s one of them. Most of them have known each other for years and see each other almost every day out walking the dog or playing tennis, or at drinks parties or dinner parties, at bridge evenings and coffee mornings. (Because this is the life of villagers of that era, we feel.)

An old lady with glasses can be the rich countess, or the village spinster/busybody. She doesn’t mind whose role she plays so long as she’s busy and well paid in scones and tea.

Like the suspects now before us, we too would like to believe that those around us are just like us, and thereby comes the assumption that no one ‘like us’ could possibly do something so sordid as to kill another person. Because such an action implies loss of self-control, unacceptable levels of emotion, and of course, a denial of the never-say-die attitude that instils us with hope for a better tomorrow. Or if not better, then at least no worse.

So when someone—let’s call him Major Wainwright—is found underneath the billiard table with his head bashed in or a hat pin piercing his eye to skewer his brain, we automatically think, no one I know could possibly commit such an act. Therefore, it could only have been done by someone ‘not from here’. Here endeth the first act of our little fiction.

Sorry about that graphic image, by the way, that fictional situation got really bad, really fast, didn’t it? I’ve been reading Agatha Christie this week, in case you’re wondering. And while I’ve got you here, I’ve no idea why it’s always a major. I can only assume that a warrant officer or a corporal just doesn’t have the same ring?

But when we look at those cast members or story characters around us, we suddenly think, how well do we really know them? This is what writers sometimes call the second act world of the ‘unknown’ or the ‘new world’, where we suddenly see everyone as different and unknowable.

Let’s look at this bunch of weirdos and oddballs.

Take the major’s wife, for example. She’s known for her knitting circles and good works. As is the vicar’s wife, busily visiting the elderly and infirm, taking care of the vulnerable.

The major enjoys civil war reenactments, often heard to say ‘That’s not how I would have done it.’

Then there’s the vicar himself. Does he really need to spend so much time shut away in his office muttering scriptures or Latin phrases to himself? What’s he really doing in there?

What about Miss Simmons, the village busybody, who knows everyone and everyone’s history. They say she has a heart of gold, but is she really over that old romance? After all, she’s never married, does she still carry a torch for that certain someone? These country villages seem to always have a nosy old woman. (Often that’s me.)

What about the village doctor—I bet he knows a secret or two.

Then there are the rest who can change from story to story, as required: there might be a visiting artist, or an aunt from another village, or perhaps a daughter just returned from university to care for an elderly father who once threatened the organist with his walking stick. And of course we have the organist himself. But don’t stop there, there’s the butler, the maid, a hotel owner, the owner of the knitting wool shop… oh all sorts of people. Maybe a weekending couple, he is ‘something in the city’ and she is a famous model, renowned for her torrid affairs before she settled down to marry a man twenty years older than herself. There might even be a gay couple, known locally as ‘artistic’, (that was euphemism my mum used for a couple of gay men we knew when I was a child in the early 60s, when same-sex relationships between men were illegal) in those unenlightened days, they may have been viewed with suspicion.

But in spite of all these people with their secret backgrounds, their secrets thoughts, ideas and attitudes, we still keep coming back to the same thing: surely no one I know would commit such a vicious crime?

But how well do I really know these people? As I watch them gathered around the corpse, their various emotions—triumph, relief, satisfaction, fear, horror, dismay, anger, sorrow—fleetingly appearing on their faces, I’m forced to admit it feels as though I am in a room filled with strangers.

It’s the job of acts 2 and 3 to follow the clues, not be tricked by the red herrings, and to unmask all their carefully concealed plans and desires and arrive at the truth. Any one of them could be the killer…

And for readers of mysteries, that’s the beauty of it!

***

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.

*

Job vacancy: armchair sleuth required (readvertised)

 

We at LaughingAtLife.org (not a real company!) have a new part-time vacancy for the role of armchair sleuth.

About this role:

You must be ready, willing and able to deliver timely advice to all suspects and potential victims. (But not too timely. Whilst we agree that forewarned is forearmed, if you’re too good at your job, you may find the number of victims drops alarmingly and you are left with no one to investigate/suspect which will lead to everyone at LaughingAtLife.org moving into the genre of romance. Or maybe Fantasy. No one at LaughingAtLife.org wants that to happen.)

You should be highly experienced in delivering comments such as ‘I knew that was going to happen’ or ‘You could write this (insert offensive vocabulary here) stuff yourself!’

If you have fancied taking part in shows such as Gogglebox, this job could be for you!

Essential qualifications:

Eagle-eyed attention to detail.

Nerves of steel.

Ability to pick locks with a hair pin or safety pin. Or a lock-pick.

Suspicious of everyone and everything. Make remarks such as ‘Oh really?’ and ‘Feel free to be open and honest with me, I will discover the truth in the end.’

Be liable to take all alibis with a pinch of salt. Or snuff.

Able to sniff out spurious motives and supply educated guesswork.

Must possess own monocle or pince-nez or (misplaced) reading glasses (on colour-coded ribbons or fine cord – not too long though, you don’t want someone to strangle you with said reading  glasses cord, do you?).

Should be able to demonstrate a long-established habit of putting your fingertips together in a thoughtful manner before speaking.

You must have a luxurious moustache which you continually fondle or trim or dye a suspiciously dark colour. This role is open to all genders in our commitment to non-discrimination.

Or, failing the moustache, you may have a knitting fetish, and take knitting everywhere with you so that you are ready at a moment’s notice to disarm suspects with your apparent inoffensiveness and the sense of calm rationality that you radiate.

Must be able to recall a long series of villagey anecdotes you can crowbar into any conversation.

Must know the difference between a colonel and a major. Must equally be conversant with the differences between life-peers and the other sort, whatever they are. And of course, ministers of religion and local politicians. Must know how to address a Dowager without causing universal embarrassment at the knitting circle or Ladies’ Bright Hour.

Must be able to shake your head sorrowfully from time to time and say, ‘The world is a very wicked place’ or make some quote about the universal fallibility of mankind.

Additional desirable qualifications:

Knowledge of Shakespeare, Milton and the Bible useful. Possibly also Tennyson. (but we at LaughingAtLife.org do not insist on Tennyson.)

Must not be liable to scream or faint when confronted with a gory scene. Must know exactly where to place fingers on the neck to discover the non-existent pulse of a victim.

Encyclopaedic knowledge of deadly fungi and herbs could come in handy. Ditto household chemicals. Or medicines.

Must be able to dip fingertip in any powdery drug and taste it without dying, and also must be able to identify said drug.

Salary:

There is no salary, just the reward of knowing you did your best, and served your country. Or, failing that, completed at least one matinee jacket for the new baby of a friend of a friend of a friend.

Perks:

Sadly, neither are there any perks. There is no holiday allowance, as every time you go on holiday, someone will do something stupid and you will find yourself ‘embroiled’ in a new murder case. Even if you have a staycation, the grumpy colonel in the Old Manor House will upset someone who will then disguise themselves as a vicar and whack the colonel over the head 47 times with a fire-iron. You will of course realise that this was almost inevitable given the colonel’s generally offensive manner, and also it will be just what happened with Mrs Castle’s little boy in Northampton when he skived off school that day in 1948.

There is no sick pay, apart from the satisfaction that your last days will be repackaged and sold as Mr X’s or Ms Y’s Final Cases with a picture of the actor who plays your role on the front cover.

How to Apply:

Seriously?

***

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.

***

 

New Shoots: a quite long short story

June 1889

In the little garden behind his father’s cottage, the spiraea shoots had rooted. Walter could see the little green buds, emerging here and there up the length of the canes that stood in a row before him like soldiers on parade. In some cases, the buds were a little larger than the rest, and were just beginning to unfurl. Walter turned to survey the bench with its dozens of pots of soil and the new life contained within them. Strawberry plantlets growing stronger day by day; pansy, geranium and snapdragon seedlings showing their first ‘true’ leaves, dahlia shoots just beginning to push their tips above the surface of the soil, and beside the bench, in the border, the tall sweet peas had already reached the first wire.

He smiled and felt as though a weight had lifted from his shoulders. These small beginnings would change his life. He would be his own man someday, with his own thriving business, no longer at the beck and call of His Lordship. He could ask Hetty Miller to be his wife. They could be married by Christmas.

It was as if his every dream was on the point of coming true.

September 1896

Walter Jenkins stood in the dock of the court. He gave the clerk his name, date of birth and his abode. His voice quavered a little and he cleared his throat to continue. He had never been in a court before. He’d never been accused of anything before.

The clerk of the court told him to remain standing as everyone else took their seats. He felt clumsy, naked, as all eyes turned on him. His cheeks burned with shame as the clerk read out the charge.

“The plaintiff, His Lordship the Lord Branchley, accuses you of building an independent and thriving concern as a market gardener upon the theft of plants from His Lordship’s grounds, where you worked as an under-gardener until five years ago when you began working on your own account. How do you plead?”

Walter licked his lips. He fidgeted with his jacket hem as he stammered his response. Then he had to repeat himself in order that everyone could hear him.

“Not—not guilty, Your Worship—um—your—um, sir.”

“Hmm.” The judge peered over his glasses at Walter and fixed him with a hard look. “So noted.” He made a mark on the paper in front of him with his fountain pen.

And so it began. Walter was permitted to take his seat and he sank down in relief, clutching at the wooden rail in front of him, his head swimming. He was a bag full of nerves.

At erudite length, the prosecution set forth their case: that the accused had stolen plants and seeds from the grounds of eminent philanthropist Lord Branchley, and had thus been able to set himself up as a market-gardener, with considerable success. Furthermore, it was stated that the accused had traded on knowledge he had gained during his employment by His Lordship and turned it to his advantage. There was more but these were the key points upon which their case hinged. His Lordship himself was in court and sat with his team of the finest attorneys at the front of the court. It was His Lordship’s desire to prosecute to the fullest extent of the law.

For three hours, the prosecution set forth their case. Walter couldn’t take in what was happening. The legal jargon washed over him, leaching away his confidence, his pride, everything he knew. All he could think was, would he hang/ or be transported? Or…? Punishments too harsh to be considered with a calm mind. All he wanted was to be home again with his family.

When at last the judge declared a two-hour break for lunch, Walter was already wondering if it was too late to change his plea. Perhaps that might bring him some leniency from the court.

As soon as he reached the cool solitude of his cell, relief filled him. Out in the world beyond the court, the attorneys were enjoying a lavish four-course lunch, served on fine china. For Walter, lunch was a pot of small beer and some bread and cheese. But Walter didn’t feel much like eating. He took a little of the cheese, and perhaps half of the beer. He thought about his case.

If he changed his plea to guilty, he wouldn’t just go to prison, he would lose everything—his business, his little home and most importantly, his family. Hetty had married him, against her parents’ advice, on the understanding that he was able to support a family. Walter felt completely without hope. Lord Branchley’s case was too strong against him, his attorneys were too learned and powerful.

But what would happen if that was no longer the case? Even if he didn’t go to prison, he would have to pay damages. What if he lost everything and had to return to his old room at Mrs Clark’s? Hetty would not go with him, he was certain of that, and why should she bring the two babes to live in such a crowd? No, she would go home to her mother, and if that happened, he would never see her again. With His Lordship bound to win the action, Walter knew his life was finished even if he, by some marvel, escaped a prison sentence. Walter cleared his throat a couple of times and dashed away a tear.

At that moment, his defence attorney arrived. Although lacking the flair and aura of success of his opponents, he was all Walter had been able to afford. In fact, Walter suspected he couldn’t really afford this man either, but the attorney had agreed to represent him, and Walter would simply pay what he could when he could manage it. The man had said it was an interesting case. Right now, he was beaming as if there wasn’t a worry in the world. Walter repressed an urge to punch him on the nose.

“Well, Jenkins, I feel it’s going very well. Very well indeed, young sir. We’ll soon have you out of here, don’t you worry about that.” He paused, clearly expecting Walter to thank him. His remarks met with silence and the attorney continued with a slight frown. “Now, now, young fellow, chin up. No cause to be down in the dumps, you know.”

“They seem to have all the right with them,” Walter said. “I thought there would be a jury?”

“No indeed, it isn’t that kind of trial. It will be His Honour who will make the judgment based on the evidence.”

“Just that one judge? We may as well give up now. I have no chance of success.”

“It may seem so now, but we will not give in! No, no, we must cling to our beliefs and hope for the best. Now, once we resume after luncheon, I will have the opportunity to put your side of the story, and then we shall see, eh? What do you think to that?”

Walter said, “I think I shall go to prison. Or be transported to the Antipodes. I shall never see my wife or my children again.”

The attorney frowned at him again. He slapped him on the shoulder.

“Come, come, man, there’s no need for such talk. We have an excellent case. We’ll have you back with your family in no time. Right! Now, I’m just off for a spot of lunch and I will see you in court later on.”

The cell seemed emptier after the attorney left, but all the same Walter was glad he was gone.

*

After lunch the prosecution began by calling the first of their two witnesses, Lord Branchley’s head gardener. He gave a sworn statement that he had seen the defendant remove plant material from the compost heap for unknown purposes on no fewer than three occasions. That seemed to satisfy the prosecutor, who resumed his seat with a grave look and pursed lips.

Walter’s defence attorney stood. “Have you ever seen the defendant removing plants or any other items from anywhere other than the compost heap?”

The head-gardener, an aged gentleman with weak eyes, stood turning his hat round and round in his hand and avoiding Walter’s eye, and finally he admitted he had not.

“And can you elucidate for the officers of this court, the function of this compost heap?”

“Er, beg pardon?” the head-gardener leaned forward, looking puzzled.

“Yes, of course,” said the defence attorney with a broad smile round the court. Leaning on the rail of the witness box, he turned back to the witness with a matey grin. “Er, just tell us, old chap, what’s it for?”

“The compost heap? Well, it’s a kind of rubbish tip for all the unwanted bits and bobs from the grounds and it rots down to make a rich soil you can put back on the garden. Very good stuff it makes. Very good for roses, fruit and vegetables of course, and…” he was counting them off on grimy fingers.

“That is sufficient information, thank you, Mr Duffy,” said the judge.

“Sir, sorry sir,” said Duffy and he seemed surprised by the laughter that filled the court. The judge rapped his gavel and the amusement was silenced.

“And was it His Lordship who asked you to create this compost heap?”

“Well no, not as such. His Lordship leaves the day-to-day running of the grounds to me, and I always has at least one compost heap on the go. You see, it makes very good…”

“Er, yes, quite so,” said the defence attorney hastily. “So the creation of a compost heap is part of your normal gardening practice, which experience has taught you is beneficial to your work?”

“Er, yes, it has, it is, I mean. Er—yes.”

Again a ripple of laughter was heard but quickly died away under the judge’s frowning looks. The defence attorney gathered his papers. He directed a nod to the judge.

“No more questions, your honour.”

The prosecution attorney immediately leapt to his feet and asked to put a further question. The judge inclined his head, and the prosecutor stepped forward.

“I believe it’s true to say the accused has learned all his skills from the employment His Lordship has so generously granted?”

The head-gardener struggled to fathom the sentence, his old forehead even more crinkled than usual with the effort. The prosecution attorney attempted to clarify his meaning in simpler terms.

“The job of under-gardener gives many opportunities to learn new skills and to gain experience, I imagine?”

The head-gardener wavered. “Well it does and it doesn’t.”

The prosecution attorney tried to hide his annoyance. His chance to prove the case based on this testimony would dwindle if he couldn’t get the old fool to say the right things.

“I see. But I imagine that when Mr Jenkins left His Lordship’s employ, he knew a lot more than he did when he first started?”

“It’s possible,” conceded the old man. “Young Wally had such an enquiring nature. He was always bringing in books and such and telling me all his high-falutin’ ideas about this and that. Never one to be content with doing things the way them’d always been done. Always wanting to try summat new. He fair drove me wild at times.”

Seeing that continuing with the witness was likely to actually harm his case, the prosecutor decided to take his seat with a crisp bow. “No further questions, your honour.”

The prosecution then called the second witness, Matthew Styles, under-gardener.

Matthew Styles took the stand, saying his oath loudly and looking around smiling. He appeared to be relishing the experience, and even waved to a young lady seated near the front. After posing a few general questions as to the age and occupation of the witness, the prosecution attorney then asked, “Have you ever seen anyone removing items from the compost heap or anywhere else?”

“Including me?” Styles asked, eagerly.

The prosecutor, a little surprised, nodded. “Er, yes, Mr Styles, including yourself.”

“We all ‘ave.”

“All?”

“Oh yes, indeed. And even His Lordship’s butler, he’s very fond of sweet peas, you know, so even he, when they’re there, he comes down and cops ‘em off Mr Duffy. Then there’s cook, she likes a bit of lavender or rosemary…”

“Thank you, Mr Styles, no further questions.” The prosecutor withdrew, frowning. The defence attorney leapt to his feet.

“Excuse me, Mr Styles. Am I correct in thinking that other servants than those who work in the gardens also avail themselves…?”

“Oh yes. The butler, Mr Stephens the butler, he likes his sweet peas, so at the end of the season, when they is dug out from the side border and chucked on the heap, he comes down for the pods to get the seeds. Then he can grow sweet peas in his own garden. Won a prize, he did, last year at the village show. I think the first prize was a guinea, and if I remember aright, the second prize was a leg of mutton. Very good he is with sweet peas, Mr Stephens. And then there’s Mavis. She works in the kitchen. She takes the flowers from the summer pruning for her mother’s grave. They’re not actually dead. The flowers I mean,” Styles explained to the tittering audience, provoking a further outburst as he added, “Her mother’s dead right enough, God rest her, but the flowers is just a bit past their best, though still quite nice looking, rather like Mavis herself.”

The judge banged his gavel six times and stunned everyone to silence. “I think we’ve heard enough to consider the question answered.”

The defence attorney inclined himself in a courtly bow. “As you wish, your honour.” He turned back to the witness. “And so, it seems acceptable and indeed commonplace for employees to remove items from the compost heap, as it is clear that anything placed thereupon is unwanted, that is the case, is it not?”

“It is.” Styles agreed. The defence attorney resumed his seat. The prosecution attorney stood and said,

“It appears as though there is wholesale theft going on within His Lordship’s premises. It almost sounds as though every servant is cheating His Lordship. Disgraceful.” He bowed to the bench. “No further questions for this witness, your honour.”

Styles was dismissed. The prosecution rested, his expression one of dissatisfaction. The defence attorney called the accused to the stand. Walter Jenkins took his oath on the Bible, his voice low.

“Mr Jenkins, how long had you been employed by His Lordship as an undergardener before you left to pursue your own business?”

“A little over six months, sir. I think it was about eight months altogether.”

“Really?” the defence attorney infused his voice with surprise. “From the testimony we have heard today, I had thought it had been a much longer period than that.”

“Oh no sir. I worked for my father from the age of fourteen until he passed away when I was twenty-five.”

“And then you went to work for Lord Branchley?”

“Yes sir.”

“What line of work was your father in?”

“He was a market-gardener, sir.”

“Indeed. How interesting. But one imagines that you had far greater opportunity to learn your trade in your employment at Lord Branchley’s?”

“I learned a great deal about digging, sir. And about cutting grass. Those were my main duties as an under-gardener.”

“I see. And I have no doubt these skills were useful to you when you set up your own market garden?”

The judge silenced the few sniggers around the courtroom with a single look.

Walter Jenkins hesitated then said, “Well sir, I don’t cut grass in my market garden, seeing as I don’t have a lot of room for grass. But it’s true I do occasionally dig.”

“Thank you, Mr Jenkins. And after your father passed away, what was the reason you did not continue in your father’s market garden but instead came to take a position with Lord Branchley?”

Walter bowed his head. Those in the court could see him biting his lip.

The judge spoke. “Mr Jenkins, I must urge you to answer the question.”

Walter’s head came up. “Yes sir, Your—um. It was just—I hadn’t wanted to say, but it was because of the business being sold to pay off my brother’s debts. There was no money left and so I was forced to find myself a position with the old business gone.”

“Thank you, Mr Jenkins, I do appreciate that this is not easy for you. And is your brother still in debt?”

“No sir.” Walter said. He looked down at the floor. Only the few people at the front of the court heard him as he said, barely above a whisper, “My brother was hanged last year on account of killing a man in a brawl.”

The judge tsked and shook his head. He scratched another note on his paper. Walter felt a wave of despair wash over him but on glancing up, met what appeared to be sympathy in the judge’s eyes.

The defence attorney continued. “I am very sorry to hear of your troubles. We will turn away from all that. Perhaps I could ask you to explain just how you came to provide yourself with the means to set up your business?”

This was easier ground for Walter after the previous question. He relaxed a little and his voice was clear.

“Well sir, I took a few things from the compost heap, as you know. There was a few canes from His Lordship’s spiraea in the shrubbery. It’s a good big patch of it at the back, and you has to prune it back hard every year. I was in charge of the shrubbery as Mr Duffy didn’t care for shrubs. Now, my father used to grow spiraea and the trick is to cut it right down after flowering, it makes it come back all the stronger in the next year, and it makes a nice rosy-coloured background to the other plants. The cuttings, like long canes they are, they root really easy. So I took a dozen of them and I rooted them. When His Lordship was in the grounds, sir, taking a look around with Mr Duffy, I approached him and said to him, would he like to have more of the spiraea in the shrubbery as it was dead easy to root and it would make a nice display of pinky-red flowers when it came out, and I knew as Her Ladyship was much taken with the colour.”

“And what did Lord Branchley say?”

“He said, begging your pardon for the cursing, sir, he said, ‘Who is this damned oik, Duffy?’ And Mr Duffy, he looked daggers at me and said to His Lordship as I was one of the under-gardeners. ‘Not any more’, said His Lordship, ‘give him a week’s notice and get rid of the upstart. I’ll not be addressed so rudely in my own gardens’. ”

“He sacked you?”

“He sacked me, sir, yes, there and then.”

“Then what happened?”

“Then His Lordship, he turned to Mr Duffy, and asked him what I was on about. So Mr Duffy showed him the spiraea and said as I was suggesting having more of them.”

“And did His Lordship comment at all on this?”

“He said, ‘I hate the bloody things,’ begging your pardon Your Worship, but that is the very words what His Lordship used. Then he says, ‘Rip them all out. Can’t stand them. Get rid of them all.’ That’s what he said, sir.”

“So now, you found yourself out of work and you had the spiraea canes. What happened next?”

“Well sir, I had me week’s notice to work. And there was a lot of nice bits on the compost heap. Strawberry creepers, seeds, cuttings, dahlia tubers from where we’d been dividing the clumps due to them growing out onto the south lawn. I came away with no reference but with a tidy pile of little plants and cuttings and seeds which I put into a sack what I brought from home. And just then, I was walking out with Hetty Miller, as was a maid from the Dower House. But I couldn’t marry as I didn’t have no job. But Hetty says to me, you can sell them when they’re rooted up. She said I could earn enough to rent a nice little cottage, that way I could start my own market garden up gradual-like. So that’s what I done. And then me and Hetty got married, and now there’s the two babes.” At this point Walter turned to the judge, “Sir, begging your pardon, but if I gets transported or goes to prison I will never see Hetty nor my children again as her mother took against me on account of me being sacked. My Hetty means everything to me, sir. If I’d have known how His Lordship felt, I’d have willingly paid for the stuff I took, but I thought it would be all right because all of us was doing it and in any case His Lordship said to get rid of them.”

There was a half-hearted protest from the prosecution, but the judge waved it away with a weary hand.

“Mr Jenkins, what would you say the original items you took were worth? If one had to purchase them from a market garden such as yours, for example.”

“You don’t buy things like that, sir, Your Worshipfulness, they are just…”

“Just rubbish to be thrown away on a compost heap? I see. Very well, thank you, you may stand down.”

The judge made some more notes. He announced a recess of one hour and the court was cleared.

*

An hour later, in his cell, Walter was trembling from head to foot. He could hear the warder approaching, the keys jangling on his belt. The door opened, and the warder gestured to Walter. “C’mon then, lad, let’s be having you.”

Walter stumbled along the chilly corridor and soon was back in the dock, clutching the rail for support.

Everyone rose to their feet as the judge entered. He strode to his bench, his lips pressed tightly together, his expression grim. Walter felt ill; he began to pray silently and fervently in a way he had not prayed since Sunday school. Up in the balcony, Hetty’s face was a white anxious oval, her gloved hand pressed to her mouth, her little hat hiding her lovely curls. The judge took his seat, then everyone else sat. The judge arranged his papers into a neat stack before him and he took up his gavel. He addressed the court, his firm voice resonating around the room.

“I have made my decision. The defendant will rise.”

Walter rose, trembling, to hear the words that would decide his future. He hoped he wouldn’t be sick or faint away when the sentence was pronounced.

“Having weighed the evidence in this case and after consideration of all the facts, I find in favour of the plaintiff.” The Judge banged his gavel and a murmur arose all around him.

“Jolly good show!” Lord Branchley immediately leapt to his feet, his face wreathed in smiles as he received the congratulations of his attorneys and they shook hands.

In the dock, Walter was barely able to take in what had been said. He heard a wail from behind him and turned to see Hetty on her feet, eyes wide with shock. The judge was compelled to pound his gavel on the bench a number of times before order was restored. Silence fell once more. The judge continued:

“I order that the defendant shall pay damages in the amount of one penny for the—er—spiraea canes—and the same amount for the strawberry plantlets. Also, I award a farthing for the costs of the plaintiff.”

For a moment Walter couldn’t understand what was happening. The prosecution attorney, his assistants and his client Lord Branchley all halted in their premature celebrations, mouths gaping open. Then, outraged, they began to demand that His Honour should review the evidence. The defence attorney charged across the courtroom and pumped Walter’s arm up and down.

“A triumph, my boy, a triumph!”

The judge, ignoring the commotion, addressed Walter directly. “Let the record show that the court commends you, Mr Jenkins, for your ingenuity, hard work and your skilful grasp of your chosen trade. The court commiserates with you over the difficulties that have beset you in the past and hopes that your market garden will continue to thrive. And if you will kindly leave your particulars with my clerk, I believe my good lady will be interested to know what you have in the line of dahlias, as she is contemplating some improvements to our own grounds at home. Court is adjourned.”

The judge stood and left the court, his gown billowing.

Lord Branchley, red-faced with fury, was pushing aside his attorneys to leave the court, uttering oaths as he went.

As the warder stepped forward to release Walter and remove his handcuffs, Walter turned to look across the courtroom. Hetty was making her way towards him, dashing away tears and smiling.

“We won!” he said. He still couldn’t believe it. She laughed as he swept her into his arms.

“Silly! Of course we did!”

“You will come home again now, won’t you? You and the kids?”

“Yes, Walter Jenkins, we will come home. I’ll never doubt you again, I swear.”

 

The End

***

All rights reserved. Copyright 2018 © Caron Allan