Deal, Sandwich and East Kent

I had hoped, that with a new bookshop opening three miles away from home (The Deal Bookshop – A Waterstones ‘light’) I would get a chance to do a signing. Sometimes it’s not the best way to spend a couple of hours – standing/sitting being studiously ignored by most of the people who come into a shop and being very conscious of taking up valuable space in often very small shops – but sometimes it can be very rewarding talking to people who have read one or more of my books and, having enjoyed them, are looking forward to the new one.
However. Last week I had to have an operation on my hand, my right hand – and I am right-handed. With hand heavily bandaged I will be unable to do anything other than scribble something illegible for some time so a signing is, for the time being, out of the question.
But if you happen to be in Deal pop into the bookshop and buy a copy!

East Kent features in the book (if only for the one night Jenna Freece spends in Sandwich on her way to Spain) just as some part of Kent features in most of my books one way or another. Wingham and Canterbury crop up quite a lot in Second Strand and most of Highly Unsuitable Girl is set around the Sevenoaks area.
As I plot the next adventure for Skye and Fergal I am sure Deal, Sandwich, Woodnesborough, Wingham and Eastry will have feature – maybe even Hammill which is where I lived when I started to write my first book The Last Dance.

Dominica – a year on

A year ago today husband Colin and I were aboard Queen Mary 2 approaching Roseau, capital of Dominica. My impressions, as I took photographs of the approaching island, were (and I quote my diary of the time) “Mountainous, cloudy, rainy, green, steep.”
We spent a morning there, my diary reports: “Still an undeveloped island. Lots of rainfall to deal with. There aren’t many bars and restaurants. It seems to rain three minutes in every four but, despite humidity, not unpleasant. Walked along pavements reminiscent of Mumbai (uneven!) to the cricket ground (built by Chinese for 2007 Cricket World Cup?) before heading back to a bar on the waterfront, a couple of beers each before I investigate the markets (buy some soap first one $8 the next, identical, $4!) and a handmade shoulder bag. Nice woman with her daughter said she made it – I hope she did – everything else, including t-shirts, seems to be ‘Made in China’.”
Eight months later, in early August, I chose one of the images I took that morning as the basis for the cover image for Hostage to Fortune; after all, the Caribbean features in the plot, as do other brooding coastlines (Devon, Spain).
A month later the island came back forcibly to mind with the reports of Hurricanes Irma and Maria.
Now every time I see that cover image, as Hostage to Fortune approaches its official publication date (end January), I think about that woman and her daughter. I hope they are safe and well.
I can’t imagine the cruise ships have returned so how are they coping – that woman and her daughter, and even the woman who overcharged for the soap; how are they making a living? Are they making a living?
Now they’ve dropped out of the news cycle does anyone care?
What a difference a year makes.
May 2018 be better one.
It needs to be.


Hostage to Fortune is now in its final stages before publication.
The copy edit came back with some well spotted errors marked (A company called FP became FM for some reason best known to my fingers and Berry Head (near Dartmouth) became Barry Head – I blame my fingers for that one too!). The most frequent changes/corrections were in punctuation. I wonder if this is what other writers find.
I have learned, in the ten years I have been writing and publishing my books, that speech ends with a comma if the following text indicates ‘XXX said’ or ‘XXX replied’ but with a full stop if the speech stands as its own paragraph or if the text that follows is, indeed, a new sentence. This is something I now try to do to save the copy editor (or the editor’s software) an incredibly large number of changes.
Another change that seems to have occurred in those ten years is the proliferation in the use of the semicolon.
When I was at school, admittedly over fifty years ago, this item of punctuation was frowned upon. My English teacher taught that, if a comma did not serve, the second clause should form a new sentence. Perhaps that was her personal preference rather than the prescribed wisdom of the day.
Looking at Wikipedia, that fount of all knowledge, the use of the semicolon in English texts since 1500 showed remarkable swings in popularity for the first 150 years, reaching a peak in the 1660s before declining sharply. Recovery through the Eighteenth century saw another peak being reached in the early 1800s before a steady and continuous decline through that century and the last, reaching a low point not seen since the 1650s in 2001.
Since then the trend has been reversed.
My (completely unscientifically researched) theory is that this is the influence of the Americans and American software designers – particularly in Microsoft – where Word seems to frequently indicate a grammatical error when a comma is used mid-sentence.
And don’t get me on split infinitives!
Or the use of the exclamation mark (point?)!
Or whether a question mark should be used after rhetorical questions?
Or when dashes are acceptable – or not.
Anyway, I do hope that people who read Hostage to Fortune (and my other books, of course) will find the story(ies) so gripping that they do not notice the punctuation at all!


July 1 had been my self-imposed deadline to send the pretty-much-final-draft of Hostage to Fortune to an old friend to read through and comment on. I’m afraid I missed it.
I began the third re-read/re-write run through on June 11 planning to do at least a chapter a day but it hasn’t quite worked out like that.
At first I made some progress but I was nowhere near meeting my schedule and of the 24 days since I began I have managed to concentrate on Hostage to Fortune for only ten – and then only for a couple of hours in any one day. In that period I reached only page 72 (of 299) in Chapter 7 of (currently) 34.
My reason (excuse?) is that my husband and I have, yet again, been moving house.
In the fifteen years since I first decided to try to write seriously for publication we have moved six times and at least one book has seen the light of day in each house: Woodnesborough, Kent (The Last Dance); Tenbury Wells, Worcestershire (Walking Alone); Ludlow, central Shropshire (Runaways); Maesbrook, north Shropshire (Highly Unsuitable Girl); Yarmouth, Isle of Wight (A Set of Lies and Her Parents’ Daughter); Dartmouth, Devon (Second Strand) and now Worth, Kent less than three miles from where we left just over ten years ago, where Hostage to Fortune – and others – will see the light of day.
But now the packing and unpacking has been done (we ought to be good at it by now) and we are settled Hostage to Fortune will return to the top of my to-do list and be the focus of my attention once again.
My new deadline is to get Hostage to Fortune to Jane by the end of this month and I WILL make it.
If the weather is hot I’ll just have to start early. If the cricket is enthralling I’ll just have to listen to TMS on the radio rather than watch the TV. If the garden needs attention then it will just have to wait.
I will finish this by the end of the month.
I will.

Knowledge and Experience – or Imagination?

Well known, and in many ways brilliant, writer Anthony Horowitz has been warned off including black characters in a new book because an (American?) editor said it was inappropriate for a ‘white’ writer to create a ‘black’ character. He made the rejoinder that if you followed that train of thought he could only write about ‘62 year old, white, Jewish men living in North London’
What was that editor thinking?
A writer’s job is:
To tell a story by creating characters and leading the reader through the development of the plot by showing interactions between those characters.
I suggest that stories, characters and interactions would be incredibly feeble and tedious if all characters were a reflection of the writer.
That editor does not appear to allow for the one critical factor – imagination. Why is it artificial or condescending or patronising to include characters of different ages, genders, races and even sexual proclivities just because the writer has not had that personal experience? And in any case, are people so defined by their colour, as this editor implies, that empathy and understanding are impossible between different ‘categories’ (my quotes) of people?
For the past few months I have been writing my next murder mystery novel – Hostage to Fortune (hopefully out early 2018).
The story involves murder and abduction but I am neither a murderer nor an abductor so I presume to be able to put myself in the place of one who is.
Instead of knowledge and direct experience I have imagined; I have put myself in the position of someone in a certain situation and imagined what they would do and how they would act. This is what writers (good, bad and indifferent) do.
How many people did Agatha Christie poison, stab, shoot or otherwise do away with? How could she, as a well off, middle-aged, English woman possibly write about a pedantic Belgian male detective, an ex-policeman, refugee from war-torn Belgium, possible spy for the British, lover of steam trains, unlucky in love. Could it have been that she had imagination?
I could not have written any of my books including only white, thoroughly middle class, university educated, four times married, women in their sixties.
My characters are first and foremost individuals.
Ryan, Guy, Arjun, Luis, Barford, Pat, Diane, Skye and Fergal each acts and reacts in his or her own individual way, they have characteristics of their own, they have taken on lives of their own with individual motives and back-stories.
Ryan is immature, Guy is manipulative, Arjun is vulnerable, both Luis and Barford make mistakes though both survive them, both Pat and Diane keep too many secrets to themselves, and neither Skye nor Fergal can keep to their remit; but, when it comes down to it, their gender, sexuality, colour and age are probably immaterial to the plot but their differences make it, to my mind, far more credible.
In these days of inclusivity and diversity a book that contains characters who are uniform in gender, sexuality, colour and age would be completely improbable so, should that editor’s approach be accepted widely, every work of fiction would have to have multiple writers, each concentrating on their own insular and insulated little world, limited by their experience.
As a certain, brilliant, scientist (Albert Einstein) is quoted as saying “I am enough of the artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”


The first draft of the book I would like to call Hostage to Fortune is finished! (Time for a celebratory glass of wine?)
Begun on 15 March this, the follow on to Her Parents’ Daughter and Second Strand, is the quickest I have ever completed the first draft of a book.
Of the thirty-four days, only eight were without progress. I achieved an average 1,793 words per day which isn’t bad, with a maximum number in a day 6,427! One or two days were pretty much failures with only one hundred odd words, but there were always extenuating circumstances.
This incredible rate of progress was only possible because I spent three weeks plotting out the chapters in advance, (memories of teachers telling me to plan out essays before putting pen to paper – thank you Miss Nicholson, Mr Sant and Miss Honeyball!) so I knew where I was going and who was going to do what to whom and when before I started.
It was only in the last but one chapter that my characters strayed off message. One, Guy, was supposed to do one thing but as the words spewed from my fingers on the keyboard he decided to do something completely different.
I can only say that this turned out to be his mistake.
Unfortunately, the title Hostage to Fortune has been used before. Sometimes A Hostage to Fortune, sometimes Hostages to Fortune, sometimes with a subtitle sometimes not.
Shall I go with it anyway, since the other books date from 1931, and the fifties?
I don’t know.
I can’t think of any better for this book; it works on so many levels.
Mind you, since I’ve only just finished the first draft, I have lots of time to think about it.

Places and Ideas

I’ve been away a lot this winter. Unable to face the combination of long dark evenings and long dark mornings I’ve only been ‘at home’ four weeks in the past three months (a luxury allowed by not having a cat (not good) and the day job seriously winding down (good)).
We escaped much of the cold, damp and dark but I can never escape the books that are in my head.
I am still re-vamping The Iniquities Trilogy so, as we drove through Spain, I could not avoid thinking ‘this is where Wellington’s armies marched and fought and Carl followed in his summer of 1967 in The Last Dance’ and ‘this is where Pat lives and Fergal and Skye came to visit in 2016 in Second Strand’.
Most of my books are firmly placed in areas I know; The Wirral (The Iniquities Trilogy, Highly Unsuitable Girl), various parts of Kent (Highly Unsuitable Girl, Walking Alone, Runaways), the Isle of Wight (A Set of Lies, Her Parents’ Daughter, Second Strand), Dartmouth (Second Strand and now Empty Boxes), Barbados (Highly Unsuitable Girl) and various parts of Spain (The Last Dance, A Set of Lies, Second Strand) – I’m sure I’ve missed a few. I need to be able to see my characters and I find it easier if they are in real places I know.
My next book (currently under the working title Empty Boxes) is in the planning stage so as we travelled I have been on the lookout for locations, almost as if already making the film, so as we sat in the (hot) sun gazing out over a smart marina I was thinking ‘is this big enough for Ryan to berth Peabody III late in 2017?’ and, as we sat in a beach bar watching the sun going down I was wondering whether the cove in the distance could be where Arjun will abandon Diane.
Places give me ideas (inspiration?) and through the past four weeks in Spain ideas have crystallised. I now know (more or less) who does what to whom, when and where. I know (something of) the characters of my characters. I know which historical events will form the crux of the story. I know how the thread of the story begins and ends.
All I have to do now is write the book.