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Writing Where It Hurts

It is no secret that writing good stories is not as easy as many people believe it is. If translating your thoughts into words isn’t hard enough, the first draft is followed by numerous rewriting and editing rounds. A writer revisits every one of their stories ad nauseam before – and if – it ever sees publication.

What happens if a story is particularly painful to write?

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From The Archives: P/35413/SRP

The bombardment hadn’t relented since this morning. The ground trembled incessantly. In the corner of his eye, a dark shape moved. Almost habitually Roger glanced at the barbed wire along the top of the parapet. In the tangled mess hung a soldier, arms spread wide in the wire, head lolling backwards. With every explosion, he swayed. They’d have taken the poor sod down long ago if not for

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The “Monsters” Selection Procedure

In an earlier post, I told you about the desire for diversity that spawned the idea of The Kalbrandt Institute Archives, and how this led to Eva’s explorations forming the framework for the memories she retrieves from the files in the archive.

Each file has its own cast and setting in time and space, but each book has a central theme. Since there are so many different monsters, ghosts, intriguing artefacts and mysterious monuments, how could I possibly select just one over all the others?

I can’t. So instead of choosing one, I choose five.

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From The Archives: F/25852/YA

The bead ran a ragged pattern across the sheet, then spelt L, U, I with individual letters.

‘“Lui”? “Him”?’ He frowned. Him and you, the same person? Couldn’t be, since he wasn’t dead. Unless… unless this had nothing to do with him.

He scanned the writing on the sheet again. All words, all phrases were either written in first person, or in the formal second person. Je, moi, mon, vous, votre, etc. But there was no reference to a third person, or to anyone who was not part of the conversation.

Yet the bead was trying to refer to someone other than him or the ghost moving the bead. A third person.