Category Archives: Writing

SISTER SCRIBES GUEST: JESSIE CAHALIN ON LIVING THE DREAM

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I first became aware of Jessie when this amazing blog appeared, featuring books in handbags, but it was some time before we met, introduced by the lovely Angela Petch at an RNA conference. There is a certain symmetry between us; she is a Yorkshire author living in Cardiff, and I am a Cardiff author living in Cornwall. That, and the fact she is a wonderfully giving and collaborative person, makes me consider her a Sister Scribe.

 

When I reached my mid forties, I realised my career ambition had overshadowed my creativity.  Stuck on a treadmill of administration, I signed off educational action points for teachers but had not achieved any of my own goals.  Days started at 6am and ended at midnight.  Fuelled with coffee, I survived on very little sleep, but my life-long dream to write a novel haunted me.  A health scare prompted me to grab time for myself and take control of my destiny.

Characters hassled me for years and it was time to set them free in my novel, ‘You Can’t Go It Alone’.  I tapped away on my laptop keyboard for six months; it was fun to finally meet the characters. At times, their behaviour shocked me, but they showed me there is more to life than action planning and policy making. Sophie, a character in the novel, showed me the importance of the simple things in life.  She also made me smile again.

Writing improved my wellbeing, and I wanted to learn more about the craft.  I sought the advice of a professional editor and engaged in cutting, cutting and shaping. Novel completed, I closed my laptop, ticked off one point on my bucket list, and hopped back on to my life. I mused that I would re-read my words again one day.

Unbeknown to me, my husband read the manuscript of ‘You Can’t go It Alone’.  He published the novel, without my knowledge, as he knew I would dilly dally. He threw me into the world of indie publishing.  It shocked me, but I decided to grab the opportunity and make connections with the writing and reading community via a blog and social media.  Initially, the aim of my blog was to share book reviews of all the books that had resonated with me over the years. I named the blog Books in my Handbag as all my books are on the kindle, in my handbag.

Playing on the theme of handbags, I tweeted photos of my novel in my handbag. Overwhelmed with the positive comments about the photo, I realised it would be fun to ask authors to send their photos. I developed the Handbag Gallery to showcase the authors’ books and provide a unique boost to the marketing of hundreds of authors. I now have almost fourteen thousand followers on Twitter, and the photos of book in handbags are always a hit.

The Handbag Gallery connected me to lots of authors, and they have supported me with the writing process and promotion.  With pearls of wisdom from indie and traditionally published authors and hard work, I achieved bestseller rankings across UK, Canada, Australia and New Zealand.  I was third in contemporary women’s fiction in Canada. The day my book was placed beside Margaret Atwood, I felt as if the stars had aligned.

Last year, I moved beyond virtual connections with authors reached out to the Romance Novelists’ Association. It is wonderful to meet with authors in the local RNA chapter and became a member of the New Writers’ Scheme.  I don’t know what the future holds for ‘Loving You’ because I am exploring benefits of the traditional and indie publishing routes.  I have started my third novel and have been offered opportunities to write articles in magazines My experience shows you do have to speculate to accumulate.  I am celebrating three years of my blog and living the dream in writerly heaven. Moreover, I have taken control of my health and wellbeing.

Wishing everyone the strength to follow their dreams.

 

Visit Jessie’s website at http://www.JessieCahalin.com    or follow her on Twitter @BooksInHandbag

SISTER SCRIBES’ READING ROUND UP: FEBRUARY

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Cass:

Having loved Kitty Wilson’s debut novel, The Cornish Village School: Breaking the Rules, I already knew what to expect from the pen of this talented author: relatable characters, a fabulous Cornish setting, lots of emotion and laughs-a-plenty.

The Cornish Village School: Second Chances is the story of Sylvie, who’s had to give up her dreams in the past and is also doing her best to recover from a recent loss whilst being the best mum she can be to her little son, Sam (adorable!) and Alex, who’s come to Penmenna with his adopted daughter, Ellie (adorable and hilarious!), to help her escape the horrors of her past and to also take a break from the pressures of his job.

Surround these two new characters with the regulars from the first book, Rosy and Matt, still cosily besotted with each other; Chase and Angelina (who’s still weird, but perhaps a bit mellower… sometimes); the controlling Marion Marksharp (still loving that name), and you have a fun read, layered with depth, as both Sylvie and Alex reveal their past wounds, at first to themselves and then to each other.

A fabulous second novel from Kitty Wilson, who writes rom-com at its very best.

 

Jane:

Given most of my novels have a time-slippy element it’s surprising I haven’t read Daphne du Maurier’s The House on the Strand before. In truth I only picked it up because my talks partner, Sue Kittow, has written a book of walks based around du Maurier’s work and we’ve been asked to speak about the author to a local group.

From the first chapter I was hooked. The book dates from the 1960s and the protagonist is Dick Young, a man who can only be described as having a mid life crisis, and is lent a house in Cornwall for the summer by an old university friend – on the condition he helps him with an experiment. This involves taking a drug which transports him to the early fourteenth century, a brutal time by any standards, and even as a helpless bystander he becomes emotionally involved in the lives of lords, ladies and serfs living around Tywardreath then.

I enjoyed this well crafted book and alternately racing to finish it and throwing it down and stomping off yelling “oh, you stupid man!” at Dick. Although the writing was so vivid I travelled back to medieval times, the contemporary story of a man struggling to make sense of his life – and in so doing putting his family’s happiness at great risk – gripped me even more. Through the lens of time Dick could be seen as a selfish bastard but this book is actually a heart-wrenching portrayal of what addiction can do to the body and mind. As relevant today as it was in the 1960s.

Set firmly in the past – this time the early nineteenth century – is To Have and To Hold, another great book from Valerie Holmes. Her Yorkshire setting is so beautifully drawn I could see it in my mind’s eye as I read, and I love the way she draws her characters from outside ‘the ton’ – it makes them seem so much more real, somehow.

This is a great adventure/love story that begins with a runaway mill boy and ends… well, that would be telling, wouldn’t it? Poldark fans should love it. Valerie’s new book, In Sickness and in Health, is available for pre-order now.

 

SISTER SCRIBES: CASS GRAFTON ON THE CHALLENGE OF NAMING CHARACTERS

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What’s in a name? Or perhaps that question should be, ‘who’s in a name’?

I’ve realised that I have a two-tier approach to naming the characters in my novels. For the leads, I go to extreme lengths not to use names of people I know personally, but for all the background characters, I am more relaxed and confess a few of my friends have popped up—in name only, I stress—over recent years!

However, I certainly couldn’t use a first name for one of my leads—someone I spent a lot of time with, got to know and had probably fallen in love with—and then in a later book give the same first name to an unpleasant character.

This is not something I share with Jane Austen, who seems to have had a much more prosaic approach, often using a first name for a heroine in one novel and then giving it to an unpleasant character in another. These names were also prolific amongst her close family, including frequent use of names shared by her brothers and their wives and children!

One of the best examples is Elizabeth Bennet in Pride & Prejudice. She’s a strong, confident young woman, a character Jane Austen had clearly become attached to, as shown in a letter written to her sister, Cassandra, the day after the book’s publication:

“I must confess that I think her as delightful a creature as ever appeared in print, & how I shall be able to tolerate those who do not like her at least, I do not know.” 29th January 1813

Yet in her last completed novel, Persuasion, the author gives the name Elizabeth to Miss Elliot, who is cold, haughty and self-centred.

More amusing is Austen’s aversion to the name Richard. In the opening paragraph of Northanger Abbey, she refers to the heroine’s father as ‘a very respectable man, though his name was Richard’.

She does use the name across several of her novels, but only for non-speaking characters, with the most scathing reference in Persuasion.

“…that the Musgroves had had the ill fortune of a very troublesome, hopeless son; and the good fortune to lose him before he reached his twentieth year… He had, in fact… been nothing better than a thick-headed, unfeeling, unprofitable Dick Musgrove, who had never done anything to entitle himself to more than the abbreviation of his name, living or dead.”

Of course, there’s always the option of simply not giving a lead character a first name, something Daphne du Maurier did in one of my all time favourite novels, Rebecca. The book’s title is the name of the first Mrs de Winter, and the story is narrated by the second. This Mrs de Winter’s name is never revealed.

The author was often asked why this was so, and in a book she later wrote about her novels and writing career, Daphne du Maurier gave this explanation:

“…why did I never give the heroine a Christian name? The answer to the last question is simple: I could not think of one, and it became a challenge in technique, the easier because I was writing in the first person.”

Charles Dickens is, of course, notable for thinking up names to suit a characters’ nature or profession: Sloppy, Wopsle, Sweedlepipe, Pumblechook, Skimpole, Bumble and Toodle, to name but a few.

I think we can be pretty certain these weren’t people he knew in person, but—fabulous as they are—I don’t think it’s a talent I have. Perhaps it’s time to browse the Penguin Classic Baby Name Book for some inspiration…

 

Sources: Jane Austen and Names by Maggie Lane and The Rebecca Notebook and Other Stories by Daphne du Maurier and Jane Austen’s Letters, edited by Deirdre le Faye.

 

SISTER SCRIBES: KITTY WILSON ON WRITING A SERIES

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When I wrote the first book in The Cornish Village School I had initially intended for it to be a stand-alone. The thought of turning it into a series wasn’t something that had occurred to me, not for one moment. But my publisher suggested that this was a great idea and I happily agreed. Being a self-flagellating writer type – many of us are –  I was astonished at the suggestion that readers would want to read about Penmenna School more than once but was very willing to do as I was told (such a good girl). I was worried though about what I would write about, how many single teachers can one small school have?

I am currently finishing writing the fifth and final in the series and have loved every minute of my time in Penmenna. It has expanded from a tale of a headteacher to a series that has embraced the highs and lows of a whole community and I am saddened that this is my last foray into the village. It was my choice but is bittersweet all the same. On the other hand whilst it feels odd to be on the brink of creating a brand-new world – I have inhabited Penmenna for the last three years – it’s exciting too. A whole new blank sheet to fill with whatever and whomever I want.

As a reader, I read the most when I was an adolescent, before the responsibilities of adult life caught up with me and I loved a series, then they were often trilogies. I devoured everything I could find on my mother’s shelves, the Jalna books come to mind, Norah Lofts, and R F Delderfield.

Why did I enjoy reading these books so much? With a series each book feels like returning to good friends. The start of a new book within a series is both comfortable and exciting, you have created a bond with the characters, feel you know them, where they’re going, and it’s exciting willing them on. The end of a book often feels as if it’s come around too soon, you want more time with them, you’re not ready to say goodbye.

The same is true when it comes to writing. Currently I am finishing up Marion’s story. She began in the first book as a velociraptor draped in Cath Kidston and was the ultimate baddie, loathsome. Having a series means I have been able to develop her and turn her into a heroine. I am fully rooting for her now and really hope readers will do the same as her story finishes.

But it’s not all been plain sailing. The tricky thing with writing a series, unless you plan every last detail (and I am a planner), something will come back to bite you. I have had so many plot possibilities pop into my head, have written chapters and then realised I can’t use them because they contradict something miniscule I wrote in one of the other books. So, whilst you know your characters better – a bit like real people – certain things have happened in their world which prevent them from moving on in a way that would be helpful to your current plot. And you have no-one to blame but yourself.

Do keep your eyes peeled for the cover reveal of the final book in The Cornish Village School series, it will be coming on Valentine’s Day and I cannot wait to share it with you.

 

 

A STUDY OF STUDIOS: AN INTERVIEW WITH ART AUTHOR ROSIE OSBORNE

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Rosie Osborne, author, While still in her teens, author and award-winning photographer Rosie Osborne made a vow to herself. She promised that by the time she turned 30 she would have published a book collecting her exclusive access-all-areas interviews with some of the UK’s most dynamic contemporary artists such as Sylvette David and Danny Fox. 

All those years later she achieved her ambition and the result is fascinating new coffee-table tome Free Spirits. We caught up with Rosie to find out more…

Q. Free Spirits is obviously aimed at art lovers, but what do you think is its unique appeal?

A. I hope that it offers an insight into the private side of artistic practice, and the everyday struggles and triumphs that artists experience. I think there’s a very human side of art that can sometimes be hidden by the polished gallery shows or the museum retrospectives and that’s what I have tried to delve into.

Q. All the interviewees must have been fascinating to speak with, but are there any that especially stand out to you?

A. Interviewing British artist Danny Fox last year was fascinating. Fox is a self-taught painter who grew up in St Ives, Cornwall, where I spent a lot of my childhood. As a teenager, he worked long hours in restaurant kitchens, washing up dishes to save up to buy paint. I remember him saying at the time that if he was offered a job with more responsibility, he’d turn it down, because he didn’t want to take up the mind space that he needed for painting. I went to his first exhibition in St Ives when I was 15 and was really moved by his painting style. Although Danny didn’t go to art school or have any contacts, he moved to London, where his work started to gain more and more recognition. Over the years following, his paintings were featured in shows all over Europe and America, and he is now based in Los Angeles, California. Danny’s work ethic from day one always inspired me, and his paintings are amongst my favourites, up with Picasso and Matisse. Last year, 15 years after attending his first exhibition, I interviewed Danny back in Cornwall. It was so interesting to discuss all of the years that had passed, especially back in St Ives, where it all started.

Q. You interviewed artists over a space of 17 years. Does this mean there are more interviews yet to be published and, if so, what are your plans in this regard?

A. Yes, I selected 13 interviews for Free Spirits, but I’ve got around a hundred interviews ready for publication. I publish some interviews on my website, but I hold on to lots in order to wait until what feels like the right time to release them.

A.  You were only a teenager when you started conducting the interviews. Did you find any resistance to your interview requests and how did you overcome this?

A. I’ve learnt that it’s really important to use rejection to propel you to move forward. Many of my requests to interview my favourite artists as a teenager were left unread, or I just never heard back from them. Over the years, I started to see it as a process of elimination. Four artists out of five may not have replied, but one often did. Putting everything into making that one interview as good as it could possibly be would mean that the likelihood of future artists saying ‘yes’ was much more promising. I saw it as a process, like any person learning to improve or perfect their trade. Nothing comes easy. I truly believe that if you can learn to take rejection on the chin, and turn it into a positive force, nothing can hold you back from getting to where you’ve always wanted to be.

Q. How would you describe the importance of contemporary art to those who may not be familiar with it?

A. I think that in order to attempt to understand contemporary art, it helps to look back to what came before it. Picasso said that, “Every act of creation begins with an act of destruction”. Everything in art is consciously, or subconsciously, a reaction to something that has come before it, so the symbolism or meaning of a piece of contemporary art can sometimes be linked to something that came hundreds of years before.

Q. If you could travel back in time, which one artist from the past would you like to speak with, and what would you ask them?

A. I’d love to interview Henri Matisse, towards the end of his life when he worked from his studio in a wheelchair. After undergoing surgery for cancer, he lost his mobility. Instead of giving up, Matisse drew incessantly and rediscovered the medium of paper cutouts. He talked about how he felt completely reenergised, and called the last 14 years of his life “une seconde vie” (his second life.) I’d love to ask him about this stage of his life, and how the work that he was able to do in the studio, in a sense, saved him.

Q. Your book features a wealth of photos with the artists in their studios. Why did you think this important to include?

A. It’s impossible to describe some of the studio scenes in the book with words! They’re all completely different: some are orderly and tidy and some are filled floor to ceiling with collected objects and everyday items alongside art materials. A studio space that I really enjoyed documenting a couple of years ago belonged to Cornish artist Samuel Bassett. I tried to take photographs of his working space that were really honest, so that the reader feels as if they’re standing in the room, observing every detail. His small studio was filled with surfboards, crates of paint, sofas, packs of cereal, saucepans and all of his kitchen items, along with works in progress and paint dripped over absolutely everything. It was great fun spending time there. It’s honestly impossible to describe, but the images say it all! Artists’ working spaces are often very transient places. As Samuel no longer paints there, the room was painted white, ready for the next artist, and the spirit of that room has changed and become something else. That’s why I felt compelled to try to record the atmosphere in that room in some way.

Q. Free Spirits also serves as a memoir of your personal development. What achievements to date are you most proud of?

A. Getting the book out into the public sphere felt really significant to me. I promised myself at 17 years old that I’d publish the book before I turned 30. Free Spirits came out the day before my 30th birthday. It’s definitely the personal accomplishment that I feel most proud of.

Free Spirits by Rosie Osborne is available now, priced £30 in hardcover. Visit www.rosieosborne.com 

 

SISTER SCRIBES GUEST: JANE WENHAM-JONES ON THE BIG FIVE O

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Following on from the RNA article in Frost last week I’m delighted to welcome Jane Wenham-Jones – novelist, columnist and presenter  – to Sister Scribes today. Thank you, Jane, for answering our many and varied questions.

 

First off the blocks. Plotter or pantser? Or does it vary by what you are writing (short story, novel, ‘how to’ book etc)?  

I started off as a Pantser, but I am now – through bitter experience ha! – a plotter. I plotted my last novel – The Big Five O – fairly forensically as it follows the stories of four different women and I needed to make sure it was balanced and the timeline worked. When I wrote a weekly column, however,  I would often just begin writing and see what came out… And I tend to write articles with just a vague idea of the content. I am on my tenth book as we speak and I have a one-sentence description for each chapter on a sheet beside me, but whether the novel will end up like that is another matter…

What, for you, is the very hardest part of writing?

Getting started. I am such a procrastinator. My son used to say he could always tell when the novel wasn’t flowing because even HIS shelf of the airing cupboard had been tidied…

And what is the most rewarding?

Writing “The End” (There’s nothing like it!!)

Photo credit Bill Harris

What do you see as the greatest success of your writing career? And what was the deepest disappointment?

One came from the other. When the publishing house that took my first two novels didn’t want the third (“too many serious issues”) it felt like the end of the world. I really thought it was all over. But this led indirectly to my writing Wannabe a Writer?, which in turn has led to many opportunities and has apparently, and gratifyingly, helped lots of writers (many of them now more successful than I am!) get published. I now have a patchwork ‘career’ which I love, and all the interviewing I do – I’ve done events with hundreds of top authors and celebs – which brings me great joy, started from one event for that small publisher who took me on for my third novel. As one door closes etc …

As you know, Sister Scribes is all about women writers supporting each other through their writing journeys. Do you have a ‘go to’ bunch of fellow female writers you value and rely on? If so, how did you meet them and how do you support each other?  

The RNA (Romantic Novelists’ Association) is a wonderful institution and I have made many terrific friends through it, who have been wonderfully supportive. I email often with Katie Fforde, Judy Astley, Janie Millman, and others and it is good to have someone at the end of a screen who knows what it’s like when one is only capable of pairing the socks…

What are your wishes and ambitions for this year and this decade?

My own chat show anyone?

And finally.  I LOVED the Big 50.  So funny and warm. How do you celebrate big birthdays yourself?

Ah thank you so much x It was fun to write. I love a party but I tend to cower when it comes  to  big birthdays. I spent 40 in a darkened room and ran away for my 50th. But now – having lost people far too young and had a life-threatening illness myself, I think how ridiculous that all was. If I haven’t been crushed by a passing bus by the time I’m sixty, I shall have a ball!

 

The Big Five-O by Jane Wenham-Jones is published by Harper Collins in paperback and in e-book formats. www.janewenham-jones.com @JaneWenhamJones

JANE WENHAM-JONES REFLECTS ON TEN YEARS OF PRESENTING THE ROMANTIC FICTION AWARDS

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One of the most anticipated highlights of Romance Reading Month is when the announcement of the shortlistees for the Romantic Novel Awards is made which this year will be on the 3rd Feb. The awards themselves will be held on 2nd March 2020 at The Leonardo Hotel, Tower Hill, with prizes in nine categories of Romantic Fiction as well as the award for Outstanding Achievement.

Jane Wenham-Jones has hosted the RNA awards since 2011. Here she reflects on ten years of sparkly gowns, celebrity guests and Awarding Excellence in Romantic Fiction.

“It is usually around this time of year that I start spending an inordinate amount of time looking at frocks. When I first presented the Romantic Novelists’ Association Awards, it was with Tim Bentinck – David from The Archers – and I wore an over-the-top glittery affair in fuchsia, which set the pattern for the next ten years. In that time, I have got stuck in a dress, had to involve a veritable team to zip me up, and had the formidable Catherine Jones (ex-army) shove an authoritative arm down my front to tape up my cleavage so I didn’t do a Judy Finnegan. Who, as it happens, made the night when she gave out the awards with the lovely Richard Madeley a couple of years later.

Photo credit Marte L Rekaa

The award ceremony is one of the highlights of my year. It is glorious to celebrate the very best in romantic fiction – a massively-selling and important genre that warms hearts worldwide – and uplifting to see the very real joy on the faces of the winners. I usually mispronounce the name of at least one of these and quite often drop my notes, but thanks to our marvellous celebrity guests we laugh on.   I have choked with hilarity with the Reverend Richard Coles, developed a small crush on Barbara Taylor Bradford  and gazed in awe at the beauty and elegance that is Dame Darcey Bussell. Prue Leith, Fern Britton, Alison Weir and Peter James have done the honours too, and were all funny and as hugely supportive as you would expect.

The Romantic Novelists’ Association does much to dispel the image of the romantic author floating in a cloud of pink chiffon dreaming of tall, brooding, macho men sweeping small fluttery females off their delicate size threes and the annual awards are a celebration of the reality and diversity of writing about love, as well as a jolly good excuse to drink lots of champagne. The next one is going to be extra special as it falls in the year this brilliant organisation gets its bus pass. We have a famous guest to hand out the gongs, an exciting new award in memory of the late, great Jackie Collins and more on the various short lists than ever before. I’ve got the dress early. Bring it on and Happy Birthday RNA!”

www.janewenham-jones.com

To celebrate 60 years of the Romantic Novelists’ Association, Romance Reading Month will run throughout February #RNA60 #RomanceReadingMonth

Throughout the month the focus will be on different ways that readers can access romantic fiction and will be highlighting different sub-genres and authors as well as supporting libraries during #LoveMyLibraryWeek On Valentine’s Day the RNA will be launching a new Facebook Group, the Romantic Fiction Book Club. The group has been created by a number of RNA members to provide a safe and cosy place for romance lovers to chat about their favourite books. The RNA will also be championing romantic fiction from underrepresented authors. RNA Chairwoman Alison May said, “We have bursaries available for new and mid-career authors from under-represented groups. We invite authors and readers to share their diverse romance novels using the hashtag #RNADiverseRomance.”

If you would like more details about Romance Reading Month or the Romantic Novelists Association then please visit www.romanticnovelistsassociation.org

 

 

SISTER SCRIBES: SUSANNA BAVIN ON THE APPEAL OF THE SHORT STORY

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Hands up everyone who remembers the First, Second, Third etc Pan Book of Horror Stories, Edited by Herbert Van Thal. I loved those scary stories when I was in my early teens. Looking back, some of them weren’t entirely suitable for a young reader, though that didn’t stop me lapping them up. My favourite was a ghost story by E F Benson (who wrote the Mapp and Lucia books), called The Confession of Charles Linkworth. I had a phase of reading it every Sunday afternoon before tea and, even though I ended up practically knowing it by heart, it frightened me silly every time. The hero of my newest book, The Surplus Girls, is named Gabriel Linkworth, as a nod to that story.

That was the second E F Benson short story I had come across. The first was The Room in the Tower, which featured in a book called Ghosts! An Anthology, which I received as a Christmas present. Unfortunately, the story was rather wasted on me because I didn’t altogether understand it. It is, in fact, a vampire story and I sort of knew that when I read it, but I was a very literal-minded child and this was in a book of ghost stories and therefore Julia Stone had to be a ghost… didn’t she?

I have always been a reader of short stories. In particular I love the collections that were put together in 1930s, with titles such as The Mammoth Book of Thrillers, Ghosts and Mysteries and A Century of Humour, which was one of a series of A Century of… books. What better way to be introduced to writers such as Wilkie Collins, Guy de Maupassant, O Henry and W W Jacobs? My first taste of G K Chesterton was the wonderfully funny The Tremendous Adventures of Major Brown, which I re-read regularly. The Mammoth Book mentioned above even contained a ‘sealed section’ at the end, with stories to make you ‘glance over your shoulder and perhaps even start when there is a creak on the stair.’

A writer whom I came to love was A J Alan, whose wit and humour could find mystery in the most ordinary situations. It was often the style in these 1930s anthologies to top each story with a few sentences of author biography, beside which was a pencil sketch of the man (it was almost always a man) himself; but there was only ever a fancy question mark in the place where A J Alan’s portrait should be. He was famous for reading his stories on the wireless and his identity was a closely guarded secret, as befitted the mysterious nature of his tales.

And I adored Anthony Hope’s The Dolly Dialogues. I bought myself a first edition after enjoying the two chapters that featured in A Century of Humour. They are clever and teasingly romantic observations of life and love.

The most recent collection of short stories I’ve read is Jan Baynham’s Smashing the Mask and Other Stories. Although there isn’t an official theme to the book, a thread of the supernatural runs through several of the tales and in each one Jan creates a different sort of atmosphere, from the deep sorrow of a ghostly mother to the chilly horror of a long-ago murdered girl to the traditional creepiness of helping a stranger. She also uses painful directness to tackle the all too recognisable dilemmas of hoping against hope to meet a long-lost child and struggling to be brave in a situation of coercive control. Jan has produced an intriguing collection filled with insight, a variety of moods from the uplifting to the poignant, and more than one clever twist in the tale.