Awake August

Absolutely delighted to find, on Monday, a just-begun series of daily observations. I've always found it a truly beneficial exercise, which in the past has given me a store of metaphors. The additional rule I've given myself this time is not to post anything about the weather. Mine are in my Small Stones blog. It's not to late to join, and there are some lovely, though-provoking observations to read also. Awake August - 2016 - post your small stones here

Off the rails

A measure, perhaps, of my dislocation that for an instance, an aberration of McEwan, I saw you upended. Buried, head first and up to your waist. But in my mind – and there was no saying as to the health and strength of that! – you’d not arrived there violently, but had ...

... no you could not have done, not achieved the age denoted by the sag and wrinkle of your buttocks, without suffering in one way or another.

But at least, I reassured myself, our love had endured, hadn’t it? No loss of trust –

– only to be immediately proved a liar for, beyond you, in this bizarre mental journey through my past, and just as unkindly displayed, was ... I can’t, even now, say his name, not with you so close.

So was I to end my journey here? Between the two of you? If so, which way should I face? Ah, but ... it wouldn’t be my face, would it? Which made it easy.
Because he always took me from behind.

[Canvas prompt: a photograph by Josh Box from House of Writers]

Morning has broken

When I was sure it was over  – I’d waited until a paler square of light drifted into shape on the wall opposite the bed, and the candle-flame had faded to ghost – I fetched a jug of water from the kitchen. Tepid for my sake. You no longer likely to flinch from cold, hard though it was to convince myself.

I’d known to place a folded towel beneath you to soak the ochre stains of shit and piss and leave the cotton sheet unmarked.  Unlike the frayed-edge strips wound herringbone around your ribs on which was mapped a rusting archipelago – a continent – afloat amidst the still-scarlet matted waves of your chest.

Cutting, peeling bandages away, I flinched on your behalf. Made amends by the tenderness with which I washed your skin to pale. Pale as the parchment on which you’d writ the words to summon me.  Words writ in ink black as the cloak I wrapped me in. Before I went to tell your wife.

[Originally posted to House of Writers, for Canvas prompt 150]

Some folk know how I like to spend my time

Books of 2015

Forty-eight  of the 192 books I read in 2015 merited five stars; a further fifty-five, four stars – evidence of a very good year’s reading. Of those five stars, thirteen were re-reads (including early Poldark and Denise Mina’s Alex Morrow) and only fourteen in the crime/thriller genre; three each by Tana French and John Lawton plus a further two by Mark O'Sullivan.

The year seemed dominated by new-to-me writers, and although 'never-heard of' does not apply to James Baldwin or L P Hartley, I'd not known Jennifer Johnson nor read J L Carr's  'A Month in the Country', or David Constantine, Glen Doig, Jenny Fagan, Elizabeth Harrower, Gene Kerrigan or David Malouf

Top six Crime/thriller books (roughly in order)

Scott, Manda  No Good Deed

Genuinely, ever-windingly tense, near-unputdownable and astonishingly vivid in the power of its characterisation. 'Remarkable thriller' indeed. 

.

Staincliffe, Cath Letters to my Daughter’s killer

Stunning', as Ann Cleeves is quoted as saying on the front cover, is the only word for this. It begins with an intensity that is exhausting then the depiction of the corrosive effects of hatred, alongside the daily drag of bed-wet sheets and a bitchy workmate is powerful and convincing.

French, Tana  The Likeness (Dublin Murder Squad, #2)

For the compulsion of its story, the voice of the narrator, this deserves thrice times five stars: I could not put it down. Five stars too for the writing, the characterisation, the dialogue and the scene-setting

. 

O'Sullivan, Mark Crocodile Tears

A rivetingly original character in DI Leo Woods, fully supported by his fellow detectives. A convoluted plot, solved by much discussion and many cul-de-sacs, many marvellous metaphors and lovely, individual writing.

Lawton, John Lily of the Field

Addictive as crack' it says on the cover, and though I've never tried crack, John Lawton's writing certainly has me addicted, and high as a kite with each reading.
                                               

Bingham, Harry The Strange Death of Fiona Griffiths (Fiona Griffiths, #3)

Fiona Griffiths has to be one of the most fascinating individuals in today's crime writing, her illness making more plausible her more irrational decisions and behaviour. The depth, breadth and application of research is lightly applied, the whole of it a thoroughly entertaining and absorbing tale.

Top seven non-crime books (in no especial order)

Duncan, Glen  Love Remains

This, as an exploration into the inner selves and relationship of two people - Nicholas and Chloe - is astonishing in its ability to entrap the reader into shocked, throat-aching suspense, and to force them to ask questions of their own understanding of what love is, exactly.

Fleming, Will Le Central Reservation

I cannot imagine this novel landing on any publisher's desk and being greeted with anything but delighted applause, so fresh, unique and appealing it seems, And I am far from someone who would go in search of a ghost story. Equally, I admit to ignorance of the dreadful effect of the slaughter of cattle on farmers, which brought as much of a lump to my throat as did the tribulations of Holly

Hartley, L.P. The Go-Between

Expectations were high, and this, in its gripping, insightful readability, surpassed them.No idea why I didn't read it decades ago.

Johnston, Jennifer How Many Miles to Babylon?

A vivid, poignant and very well-observed tale of a male friendship operating under differences of class and rank. For once, the authors' endorsements on the cover "fresh and moving", "brilliant masterpiece" and "truly heartbreaking" do not exaggerate. 

                                              

McIlvanney, William  Docherty

It's a very long time since a book brought me to tears, but this did twice over. As stark a portrait, beautifully told, of a working man's life and philosophy as you'll ever expect to find.

Ralph, Anna  Before I Knew Him

Skilfully evokes the misunderstandings of adolescent relationships, the fear and the desire to be understood. Easy to read, not because the writing is simplistic but because it says what is necessary.

Winton, Tim Eyrie

Possibly even better than 'Dirt Road' which is my most regularly re-read of Tim Winton's novels. Desperate, full of disparate incidents, not all of which are explained or explainable. The beginning chapters, heavy with sharply-described observations. Then the dialogue kicked in, like reading tangled barbed wire. And all characters achingly, painfully human in their indecision and inability as they attempt to make sense of their lives. A book I finished with my heart beating double time and my throat aching

65139 Main Street

Even from across the street, bending, leaning forward to peer beyond the passengers across the aisle, leaping up at the driver’s shout that this was where I needed to get off, grabbing my rucksack and the paper bag with the half-eaten sandwich – why do they always sneak mayo in these days? – I could see I was too late.

Those fairy lights – who had persuaded him to hang those? He hated Christmas and everything to do with it. That’s how – when – we’d met. Both escaping. Trying to escape.

Oh, not from here.  He said he was on his way here, and when I said I’d never been he invited me. In a way which said if I cared to I’d be made welcome. Said the whole place was a welcoming one.

That I could believe. Not five minutes after I’d tried knocking at the thin, flimsy glass of the front, and had confirmed the emptiness; after I’d walked all the way round, standing on tiptoe trying to see inside through windows blotchy with rain-swept and mottled dust from the bare earth, the woman from next door came out and, after checking her washing, said to me, ‘You want a drink while you wait for the next bus? ‘Cos him, he ain’t ever comin’ back here.’

‘Do ... do you know where he went?’

She gestured with a tilt of her head. ‘Jus' down the road.’

I turned, looked, unable to pick out which house she might mean.

‘He’s in the graveyard. Be just bones by now.’

Photograph by Mike Handley, Greenville, Mississippi, posted on http://houseofwriters.ning.com/

53,415 - a bit more than a shitty first draft

Tis done. And, I have to confess, at times the process was definitely a shitty one. I am more conscious this time of the work still to be done, not least the removal of one or two scenes of duplicated information.

Against this, the several times additional layers suggested themselves to me as I typed. Sometimes mistakenly, such as the one where I completely forgot making a bloke impotent in Chapter 3 and had him possibly impregnating someone at the end. But it is possible that the concentrated effort definitely added value to the exercise. But that he was doing anything was a bonus since I've been trying since July to flesh out his bones and only yesterday succeeded.

Adding NaNo count to what remains untouched from before, amounts to 62K. Plenty more to develop and flesh out. Twists and who was where, when to sort out. I don't expect to have the book ready to be called finished until this time next year. Especially as I still have NaNoWriMo 2011's to finalise.

Endpiece

Today, in the interval between waking and being word-driven out of bed, the final twist of Drink with a Dead Man appeared in my head. 

Some months ago I watch a video of Lee Child talking about writing and he said (I'm almost sure it was he) when writing a thriller you "need to ask a question at the beginning, and not answer it until the end" I wrote it down, stuck it on a shelf less than two feet from my head, and have kept it in mind ever since. And, although I sincerely hope Kit Talamantes does learn the answers to "Who has summoned me? And why?" (because I don't have them, yet) there was more to come.

I'm on track for NaNoWriMo2015, but can't say it suits me to write this way.

NaNoWriMo - revving up

A screenshot of a section of my Scrivener page; first time I've used the programme for a near fully-to-be-written novel. Current word count, because the initial idea came from a short story, to which I added a couple of other plot lines to see if it would run, is 16K, but much has to be removed as it will become irrelevant.

I've thought my way through this novel - Drink with a dead man - much further than I usually do; most of my novels begin with two or three random conversations, and I proceed, blindly, from there. Despite the fact that DI Luke Darbyshere's first conversation  continues only hours from the ending of the previous novel, I intend each to be capable of being read as a stand-alone.

Each of the lines in the left hand column is a scene, each colour represents a character, or pair of characters which the scene is about, and the tick icon tells me it is 'To Do'. For me, the ability to see at a glance how well mixed different PoVs are (and move them when necessary) is a prime advantage of this program. Central panel is the text, Right-hand one an outline, which can be viewed separately, synopsis fashion, plus notes.

Like many programs, there's far more potential to Scrivener than I use. I do the writing in Word and post in Scrivener at the end of a session as additional back-up. Now, with only days to go conversations are waking me early morning, for which I make a brief note as starting points for when Sunday arrives.

Also a first - I'll set myself a word target of 80K, but am well aware that will not be the final version.

NaNoWriMo 2015 - Drink with a Dead Man

After a two-year break I've signed up again.*
The high-pressure, brain-out-of-gear format does not always work for me but this barely-begun fourth in the DI Luke Darbyshere series has a couple of really large sticking points.
One is the reason behind the main impetus of the plot.
The other is the nature of one of the characters.
I suspect he is a baddy; that his actions precipitated the MC's decision to drop his original identity and that he was behind the summons which forced the MC back into the limelight. But I've not a clue why or how. Or what.
It might be that I hammer out two or three alternative scenarios and in so doing discover what works best. Sounds most plausible.
And I need to weave that around a slow-burn case that Luke Darbyshere is currently working on. One which requires him to liaise with an undercover guy who might - or might not - have an agenda of his own.

*For the record, my 2011 novel - then called Not Wanted on Voyage, now Step so Grave, is almost finished.  Is with what I hope is its final beta reader. Since 2011 it has been substantially re-written no less than seven times. And in-betweentimes has spawned two follow-up novels, Longest Shadows Reach and Commission & Ommission. Both of these are also near ready for publication.

Been playing with covers again ...

This time last week I was in the Book Barn just off the A37 in Somerset, having been dropped off, with my daughter, for some 4+ hours of browsing and buying.
We both had lists (J's had 56 titles) but soon found it was easier to just scan each shelf in the hope (expectation) that those of interest would somehow make themselves known to us. And with every book just £1, the temptation to take a punt on something that looked of potential interest was rife.
What did surprise me was the speed at which I rejected books. And, even more shaming, on what little evidence I did so.
Banal blurbs, too-general (and therefore non-gripping) opening paragraphs saw books immediately returned to shelves. (On my return home I immediately rechecked the first paragraphs of mine for oomph.)
But books that looked lovely were given a second chance; a further check and often went into the basked on wheels so thoughtfully provided.
Book covers do seem to be going through a bit of a renaissance at the moment. Lately I found Denzil Meyrick's series different and appealing, and Caffeine Nights has a signature which appeals. There are others which I can't bring to mind (and some, like the latest Rebus ones, which I actively dislike) but all in all enough of an impetus to send be to the drawing board to re-hash my as-yet-unpublished DI Luke Darbyshere series (the fourth of which has yet to be written).
This is the initial result. Images need re-sizing to match each other and maybe colours need more differentiation between titles, but the final two I AM pleased with.

Cultivation

‘Why me?’

‘And not the others? Can you seriously see those hirsute Neanderthals being admitted?’ Daemon’s well-bred eyebrows rose, indicating the clutch of hard-faced men, shuttered eyes fixed on the spinning wheel, diamond-décolletéed women at their shoulders.  

Chris knew what he meant.

But was not as convinced as Daemon of the superiority of this perfumed-murmuring, money-cultured crowd. He wondered how many others wore hired suits and false credentials – his at Daemon’s insistence.

A drawled ‘Lend me fifty, will you?’ told him why he’d been invited. He’d refrain from punching him. Lacking the Neanderthals' inheritance he still had much to learn. 

Frequent cul-de-sacs, and a shape-dictating Blurb

Two weeks or more trying out and researching plotlines, identities and motives for Drink with a Dead Man. A little help gained from from Dylan, Denzil Meyrick, divers and dirty lay-bys, and I've found it necessary to write a blurb in an attempt to keep me on the straight and narrow: 

Christopher Tillerman has been dead for eight years, but when the man he’s now become receives notification of a wedding which cannot be allowed to proceed – and he the only person who can stop it – he has no choice but to return to England to take responsibility for mistakes made in his previous life.

But who has summoned him?

And why?

Edinburgh crime reporter Baz Rose receives a cryptic email from an ex-uni friend, asking to meet.

But is it A, C or D?

Across town, DI Luke Darbyshere, in the first flush of a promising relationship, has a rendezvous with a man who is supposed to be anonymous.

So what is he doing, deep in conversation with a high-class prostitute with connections?

  

And then someone dies.

That final line added to remind me that it IS billed as a 'murder mystery' so someone had better die. At this moment I've not a clue who it will be, at whose hands, or why.

Back to front - strange and alien progress

Two characters - Luke and Baz - from what I thought was a completed trilogy, insisted their story had not yet been fully told. Told me things that happened in a tale written three years ago had something to do with them. Connections enough to hang another novel on.
They gave me a title - Drink with a dead man - to which I assigned an ISBN in early June. Sent me, care of Baz, a cryptic email, indicating the existence of new characters A and D. Allowed me to read a novel which suggested a way of incorporating A. Since then I've got to know A, a bit. D, despite my holding him up to several mirrors, is still distorted.

I've half-designed a cover and bought a dedicated notebook (not done that before) and have a rag bag into which I  throw patchwork ideas as and when they arrive (even though I know some will never be put to use). I wake each morning, mentally select and tack together, a nine-patch square. But when I rise, ready to make permanent, they fade or clash or fail to fit, too disparate in weight, too contrasting in behaviour, too out of character and hence too unbelievable. I unpick and put them back.

The other thing - the most alien of all - is that no-one's talking. Usually, I listen in to conversations, hearing them loud and clear, Clear enough to jot them down verbatim. But this time there's a lot of muttering, eyes sliding sideways, alert for eavesdroppers. I need to change my disguise. Improve my stalking tactics. Bug their phones.

But the good thing is, I've been here before. Have learnt that eventually all will come good.
And I've learnt to savour even the frustration of this beginning stage.

Striations, suffocation and dried flowers

Suffocation the cause of death. The official cause. Ask me, there’d been damage done before that. Subtle, like. Little at a time. Sly, like she ever was.

Not that I’m saying she deserved it. There’s a difference between administering physical  pain to someone too feeble to resist and the sort of mental torture she used to dish out on a regular basis ...

Well, perhaps the difference isn’t that great. Not when you don’t have the ... I was going to say wits, but it was experience he lacked. Experience and a sense of self-preservation. Though you had to say he preserved himself well enough in the end. After all, she housed and fed him, however unwillingly, and he – coming up to thirty-nine now – never had to worry whether there’d be food enough on the table. Never had to strive to better himself beyond the meniality of a mechanic.

But, from the striations on her back, the mottled blackberry-stain bruises on her legs (they fade so slowly in old age) and the marks across her chest, resembling, at a glance, a scattering  of sun-faded, long-dried flowers (I couldn’t allow my mind to think about what had been used to make them) I’d say he used his work experience – and the tools of his job – to extract his revenge.

And got away with it.

[written in response to House of Writers word prompt 104]

Mini-rant on book reviews

Why, oh why do folk on Goodreads feel obliged to summarise the plot of every book when they review it?  Waste of time when the blurb is already available (and presumably includes all the author wanted to reveal in advance) and too often way too much information for the reader who's wondering whether or not to read it.

Prediction fiction

As it says "it's only words" - and this week's are middle, turmeric and wail.  To use, along with up to ninety-seven others.  Before  Friday 26th.  On http://predictionfiction.blogspot.co.uk/

Prediction Fiction - 13 participants, 195 comments

An astonishing response to my first week as Prediction host!!  The last time comments went into treble figures was June 2013, although those on Lily Childs Friday Prediction often exceeded 200.
Not only were pieces of startlingly vivid writing submitted but almost everyone, knowing how we writers crave recognition from our peers, took time to comment on others.

Judging was hard, because, above all else it was the imagery evoked that grabbed me, beginning with blue-eyed rats and ending with careening space ships - both from first-timers to the site.

Next week’s words are:  cost, exquisite, slow

Entries by midnight Thursday 18th June, new words and winners will be posted on Friday 19th

Usual rules: 100 words maximum (excluding title) of flash fiction or poetry using all of the three words above in the genres of horror, fantasy, science fiction or noir. Serialized fiction is, as always, welcome. All variants and use of the words and stems are fine.

Prediction Fiction

My first Prediction post was in February 2011.  Overawed by the standard of entries, and feeling more than a bit of a fraud, since I didn’t write in the required genres of horror, fantasy, science fiction or noir, my participation was intermittent.  Did a dozen in 2012, and was thereafter hooked.

The need to tell a story in 100 words, incorporating three prompt words forced me to tighten my prose, make sure each word fully merited its place and sharpened my vocabulary.

I also found I am a serial serialiser - from this grew The Blacksmith’s Wife, and several other serials, the tale necessarily twisting back and forth each week so as to include the prompts.

The other thing is that the majority of participants READ what others write, comment on it.

And as Host I get to choose the best each week.

This weeks words are ‘army’, ‘break’ and ‘blue’ and I’d be delighted if some of you could make it part of your weekly writing routine.

Entries, this week, by no later than Saturday.  Next week I’ll be a bit more organised.

It’s at http://predictionfiction.blogspot.co.uk/2015/06/five-minutes-into-job.html

Book covers

I DO like designing book covers.  Much of the action in my most recent Luke Darbyshere murder mystery (a more accurate description than crime, I think) takes place around a gallery, wherein the owner has been murdered.  I planned to use an image of a printing plate, since that was the murder weapon, but the first attempt incorporated a ruined abbey sent against a Yorkshire Dales background.
Next day I decided that was too P D James ('Devices and Desires').

Retaining Yorkshire Dales, inverting plate, adding red bloodstains - YES!!  Looked great, I uploaded and received it and was well-pleased.
Except ... except it spoke, to me, at least, of Mediaeval jousting, and ladies, velvet-gowned and offering favours.


Another try; a browse through my 'resources' file.  One shouted out - an accidental stain, not even a print,  But suggestive of any number of things.  Uploaded, re-shaped, changed text and colour, and there it was!

Post mortem

Me unlocking his front door a first: he’d always known when I drew near, claiming sixth sense: proof of how much he loved me. 

It didn’t work in reverse, though I taught myself to recognise his particular aroma.  Linseed oil, Balkan Sobranie and the whifflings of whatever else he’d been handling that day; the ragged cuffs of the dirty-blue cotton jumper he always wore thoroughly impregnated.  Me making token complaint as he enfolded me tightly to his chest.

In the otherwise silent house, a humming.

Another open door.

The fridge, its interior solid blocked with ice.

Just like my heart.

milestone and missed it

No, I didn't miss the milestone - that was my first ever ISBN number for an omnibus edition of the first fiction I wrote - re-packaged  as Donovan & Burdock, and proofed.

But having somehow lost Photoshop Elements, around the time my account was hacked last year, I eventually decided to dust down my old PC and learn all over again how to use the full Photoshop programme.
And what absorbing, time-consuming, pleasure!

So two to-be-proof-read copies of DI Luke Darbyshere also uploaded, and cover done (but the content not yet  good enough) for the final Bridie and Sean.
Now I'd better get on with some writing.  

Pre-prandial

As oil and vinegar only combine after vigorous shaking, such as is required for successful vinaigrette, we invariably took time to come to homogeneity each time we met.   Too much time; our differences on each successive meeting seeming greater.  Thus on that particular evening we’d sat across the table from each other, unspeaking.  Drinking the speedily-delivered Merlot but, having ordered, choices made,  now saying nothing.  True, not only because of our own mutual difficulties, but also because the conversation of the couple on the table beside us – we were separated by a heavy curtain which maybe they mistakenly believed was soundproof – concerned an unholy and compelling liaison; a twinning of politics and piety.  Only when the name – names – of those concerned was mentioned did you speak, and only then with your fingers, in a gesture that indicated your clear desire to see the speaker garrotted at the first possible opportunity, underlining your intention to do the job yourself with the production from your pocket of a skein of piano wire.   

[garrotted, vinaigrette, unholy - Prompt 81 for House of Writers]

Sitting in the window, wearing a crimson skirt.

‘Whisky works well enough.’

She turned her head, eyes heavy as the thick-bottomed tumbler she clutched with both hands in her lap and nigh matching the peat brown quarter inch still remaining.

‘As what?’  Regretting the sourness but, since it hadn’t leached fully away, unable to hide it.  Their exchange of words less than an hour ago had been truly vitriolic and he could never rid himself of the belief that you couldn’t give voice to such unless you’d already thought them.  Believed them.  And each accusation, each insult, each saying of the unsayable had solidified and fallen to earth, scattering themselves across the flagstones, a rash of corpulent black maggots which, like marbles, would trip up every attempt at reconciliation.

‘As a painkiller.’

He sighed, resigned.  ‘So does strangulation.  Eventually.’

[corpulent, vitriol, painkiller] 

Unheeding

At first, little more than a whispering, loosening the last of the autumn-clenched leaves, stirring the palest of the ashes.

‘It’s coming’

‘Hours yet.’

Silent, she held her knowledge within.

Two hours passed.  A drift had formed, grey against centuries of soot.  Roof slates stirred, tapping a finger-bone tune.  She whispered another warning.  His eyes stayed shut, his breathing steady.

Time passed.

Air shifted, maybe five degrees, setting up a whistle ‘twixt wood and wall.

From nowhere, howling harshness, flinging an upward torrent of the largest of them.  Feathered and malevolent.

His eyes opened.  ‘Crows?’

‘Aye. A murdering of them.’

[This week's words for Prediction Fiction:  torrent, ashes, whistle]

Pages of Tales for The Prediction

This week I posted episode 112 of John Pettinger's 'A change of focus' and episode 49 of 'Threshold' on the http://predictionfiction.blogspot.co.uk/   Each can be read in their entirety in the tagged the pages above.

'The blacksmith's wife' - published with illustrations - was the first serial I attempted and 'From Rhodes' a 58 episode sequel, dealing with the blacksmith's brother.

Can't say enough how much this weekly exercise has help in the honing of my craft as a writer - particularly now that I'm trying to reduce 'Step so grave' from ~135K words to nearer 90K.

My Christmas was lovely but ...

Overheard in charity shop:
Assistant:   "Did you get everything you wished for?"
Customer:  "No. I wished they would all go home."

Commission and Omission - update

I reported having reached 17K on September 2nd, Had topped 40K by the 24th October, and today I've just passed 60K.

Not, obviously, a word count comparable to NaNoWriMo, but many of these words are much nearer a final draft, the clues are better worked out, the red herrings far more subtle, and in the process I've developed a final arc for the whole of the trilogy.

90K is my target - one which seemed impossible when halfway there - but a fattening of the characters, a realisation that description of place is not, if well done and applicable, a waste of the reader's time and awareness that I still have ten scenes still to write, makes it a far less daunting task.
No cover as yet - I am without Photoshop, my current version having just disappeared one day, but one possible starting place might be a print done for my first ever piece of fiction, 'The One That Got Away'.

Seedy contemplation

Gave pebble-dash a whole new meaning.  (In Scotland they add a concrete skim and call it harling.  Likely hurts no less but the blood-spots not so well-defined.)

Gave my back what looked like a nasty case of measles (except where the cord wound round me, tying arms to torso, added stripes.)

My old man.

Don’t need to tell me the drugs don’t work; old before his time with his never-ending quest to tame the butterfly he’d caught.

My mum.

Who’d said one day he weren’t my Dad, adding to his life, his love for her, a black and bittersweet symphony.

[Another offering for Prediction Fiction, this time a stand-alone, with thanks, of course, to The Verve]

A change of focus, episode 103

Three words, more or less weekly, from which to concoct a drabble of one hundred.  That's how Prediction Fiction works, and this week's words are ... well, go and see for yourself.

John Pettinger first appeared in a short story written for a Writer's Retreat in Kansas in 2012. Episode one of 'A change of focus' appeared at the end of 2012, intended as a stand-alone.
But I become attached to my characters.  John himself;  his impossible boss Vanessa and her unsuitable associates.  His Khakbethian relatives, including the evil Raptor.  And lately, since episode eighty-four, the daughters of the murdered Edward Cherrystone:  Faith, Hope and Charity.  All can be read about via the Page tab beneath the heading.

Despite his cordless phone, Pettinger was rooted to the spot as they told him; detached police reaction impossible when the crime was personal.  More personal than he’d imagined it could be.  Sick fear lodged, pebble-like, in the hollow of his throat, as he tried to make sense of what was being said – stuff about a shredded bible and a wingless bird.

‘Laid at her head.  There were other objects – bones and ribbons, baby shoes.  We got your name from what was written on her back –‘

‘Written –?’

‘With a scalpel –‘

Brickwood’s being right was bittersweet.

Charity’s revenge long-held.