Kill the lights!!

I’ve only set one of my novels in a real not imagined place; the novel is Flipside and it’s the story of a man’s struggle with PTSD as he begins a new relationship; the story is told by the new woman in his life, Jaz, the sister of his friend and business partner. They’ve known of each other for years, but it was love at first sight when they met properly – she had moved to Oldham to start a new teaching job, he was working with her brother in a garage they own. They actually know nothing about each other… until their first night together –

“Kill the lights! Kill the lights!” he hissed and jumped across me and grabbing the neck of the lamp, yanked it from its socket and hurled it across the room so it smashed against the far wall.

He bounded from the bed and went to the window and, standing back against the wall, peeped out and I was afraid that he might break the glass to fire from it.

By the light from the street lamp I could see he was terrified; he was saying something, the words stuttering out.

I leapt out of bed and tried to embrace him but his body was rigid, his skin icy and yet he was pouring with sweat.

“David! Wake up! It’s a dream, darling, you’re dreaming!”

He looked down at me, but it wasn’t me he was seeing. He jumped, as if at a tremendous noise, and crouched down, his arms wrapped protectively over his head.

“Down! Down! Get down!” and his body shook with imagined blasts or explosions.

It was like watching a movie without sound and it was utterly terrifying.

Slowly he stood, staring through me at something on the floor behind me. There was a look of such horror on his face and he was gulping and swallowing as if about to be sick. My heart was racing and beating wildly and I didn’t know how to help him.

His gaze moved and he focused on me, although it wasn’t me he was seeing. His lips moved silently and he looked into my face, into someone’s face, and then he said my name.

He stood back against the wall, arms spread, yelling now, forcing the words out but making no sense, a jumble of names and muddled denials.

“No! Don’t take her! Don’t hurt her! No! No!” almost screaming, yelling my name.

“Wake up, David, wake up! It’s a dream, wake up!”

He groaned in agony, his teeth chattering, sweat and tears sheeting his face, panting and gasping for air. I didn’t know what to do, it was so frightening.

His arms came down and his head bowed and I was able to hug him to my warm body. He was sobbing, stumbling over words so what he said was meaningless. He held me so tightly I could hardly breathe.

“They’ve got her, they’ve got Jaz!” and then his speech degenerated into incomprehensibility.

“I’m here, it’s me, Jaz, I’m here,” I spoke calmly as I would to a distressed child but he didn’t understand, just wept.

I took his hand and led him back to bed; it was the most scary thing I’d ever experienced.

This is the first page… if you want to find out what happens next, here is a link to ‘Flipside’

http://amzn.eu/474fmS7

I was weak with fear – unable to move or run anywhere…

I have only written one novel (so far) set in a real location; Flipside which I published in 2013 is set in a small village on the outskirts of Oldham in Lancashire.  In the scene which I am sharing below,  although the flat above the shop where the main character Jaz lives is a complete fiction, everything else is a real location – the story is set in the early 1990’s so I guess some things might be different now if you went to visit it! However the little road leading down to the country park, the bridge and the bank are all true!!

Jaz is in a relationship with David, her brother Kiran’s partner. For an unknown reason, Kiran has fallen out with both Jaz and David but David has agree to meet him in the hope of patching things up. Jaz is alone in her flat when she hears the sound of someone moving around in the empty shop downstairs.

There was definitely someone moving around downstairs. It must be a relation of Miss Minnishin’s looking at her property. I left my work, pulled on my trainers and hurried downstairs and out and round to the front of the empty shop. The blinds were still down, there was no light and the door was locked.
I knocked without expectation of anyone hearing. They were probably in the back where there must be store rooms and perhaps an office. I walked back down the passageway, past my door and round into the alley. The windows in the back wall had bars across, everything in darkness. There was a bell push but I could hear nothing when I pressed so I rapped on the wooden door. I knocked again but there was no sign of life, whoever it was had gone without bothering to see me. The rent was paid until April and by then who knows where I might be.
The alley was cobbled but grass and weeds were everywhere, and judging by the number of empty cans this was a favourite haunt of local youth. It was cold and damp and I hadn’t bothered with my fleece. Chilly now, I gave up and walked back and turned the corner to go inside.
Someone was standing in the entrance of the passageway between the shop and the disused spiritualist church next door. He was outlined by the oblique light from the street lamp on Thomas Street, silhouetted in the orange glow. I stopped, startled and then alarmed.
It was David. I was dismayed he was back so soon, things hadn’t gone well with Kiran. I called his name but then he was gone. Things must have gone disastrously. I ran up the passageway and turned into Thornbrook Street but he’d vanished.
I was frightened. He was alright when he left the flat, so what had Kiran said or done? I ran past the shop front to the corner and glanced up and down Thomas Street. It was deserted, but I saw David moving away from Lees down past the cemetery.
He was walking swiftly, head down. I only hesitated a second and then began to run after him. I was out of breath by the time I passed the other deserted shop on the corner of Spring Lane, but I had to catch him. I trotted down the uneven pavement past the row of houses on the other side of the road, and then the big red brick house which had some connection to a vanished mill. I couldn’t see him as I came to the end of the cemetery wall and Hopkin Mill Close. I passed the old cottages which looked down over the pasture where horses grazed.
We’d walked down here a couple of times, holding hands and he’d told me about disappeared mills and farms and dairies and the history of this little green pocket.
I walked as fast as I could. It must be bad, it must be really bad. There were lights on at the farm, the house was on one side, a barn on the other; I continued down the narrow, pitted lane, taking care of the rough bumps and deep pot-holes in the unpaved surface.
I wasn’t going to catch him unless he stopped but I couldn’t leave him while he was so upset. I was nearly at the ford and I was the only one out on this foul damp night, not a single jogger or dog walker. I was very cold.
It was hopeless. I’d have to go home and wait until he came back. Why had he run away from me? It could only be that something so awful had happened between him and Kiran that he couldn’t face me and I wondered how fragile he really was.
I wearily stepped onto the little metal footbridge over the stream, the small beginning of the River Medlock. There was no sign of him continuing up towards the main road or striking either way along the footpaths through the Medlock Valley. I stood shivering, feeling sad and alone. I was overwhelmed with grief and lifted my face to look up into the misty sky as if to seek some comfort. All my feelings of loneliness and desolation returned and I had an urge to go back to the flat, pack a bag, find a taxi and go to the nearest station to flee south.
I turned back. Standing in the middle of the road staring down towards me was David. Suddenly, unaccountably I was frightened, I was frightened of David. Things Kiran had said, scraps of venom which had seemed impossible, unthinkable rushed into my mind. Angry, violent, frustrated, trained to kill.
I called his name again but he didn’t answer, just stood staring at me. I was really scared; he was so still, so motionless, standing ready and alert, on the balls of his feet. He stood beneath a light but I couldn’t see his face, shadowed and hidden by his hood.
Hood? David hadn’t got a hood on his jacket, I couldn’t think of anything he had with a hood. He only wore a cap and had gone to meet Kiran bare-headed.
This man wasn’t David, I could see now that he wasn’t. He was slimmer, perhaps even taller, but his legs were thin.
He’d been in the shop, or round the back, or in the hall leading to the stairs up to the flat and he’d stood looking at me standing in the passage. He’d hidden somewhere and watched and followed, and now he was standing in the road, staring at me.
I looked round. The road continued up towards Holts Lane where there were houses with lights on. I couldn’t run up there, even if I was being chased, it was too steep. I didn’t want to leave the road, it would be madness to follow the footpath by the stream, there were bushes and trees to be dragged under. Anyone out on the open grassy areas at this time of night in this miserable weather wouldn’t be bothered by a man and a woman, even if he was chasing her, or had hold of her, even if she was struggling and crying out for help… I was weak with fear, petrified, frozen, unable to move or run anywhere.
The silence split with shouting and raucous laughter and on the sky-line a group of youngsters were running around shouting, yelling, chasing, they must be from Holts Village. The headlights of a car bobbed down Sunny Bank, silhouetting the waiting man, illuminating me.
I leapt off the end of the bridge and into the ford and splashed along the stream and slipped and slithered my way up the bank. I ran up towards the noise of the teenagers, a welcome racket in the night. Falling and stumbling I struggled up steep steps towards them.
“Help! Help me!” I screamed.

Here is a link to Flipside – you can find out what happens to Jaz, and to David!

https://www.amazon.co.uk/FLIPSIDE-LOIS-ELSDEN-ebook/dp/B00FAZTZDI/ref=sr_1_10?ie=UTF8&qid=1507707203&sr=8-10&keywords=lois+elsden

Settings… too close to home?

I know I’m mentioned this before, rambled on about it most likely, but I’m puzzling over the feasibility (for me) of writing something set in a location which is not only real, but somewhere I know very well… for example the place where I live now. Most of my novels are set in an imaginary town, on an imaginary coastline, with an imaginary big city with an airport and motorway connections nearby, with imaginary villages all around, moors, hills, marl pits, post-industrial landscapes… all completely fictitious, all existing only in my own mind and that of my readers.

I have only set one of my novels, ‘Flipside’ in a real place, the town of Oldham where I lived for many years. I did set another novel, ‘Loving Judah’ in two real areas of the country, Yorkshire and Cornwall, but the actual locations were just invented.

Why have I done this? Well, for me it gave a freedom to be totally creative in terms of plot… I needed a run-down, shabby town… so here is Castair; I needed a rather posh village, the ‘locals’ pushed out by townie incomers who bought up local homes and pushed up the prices, so her is Bethel; I needed marl pits – here they are on the far side of Castair… I need an old disused factory, a Methodist chapel turned into a posh restaurant, a network of little ‘lanes’ filled with expensive jewellery and knick-knack shops, fancy ice-cream parlours, ethnic delis, over-priced footwear boutiques… All can be done with an imaginary place. I am very careful to make my places ‘work’ and to be consistent with directions, connections and distances.

Having an imaginary setting can help to ensure that the reader understands my characters are totally fictional, completely products of my mind, and that any accidental similarities to anyone is just a complete coincidence.

I have mentioned all this before, but it is playing on my mind a little as I have written a series of scenes based on where I live now, a small village right next to the sea, on the estuary of a river which was once navigable deep into Somerset, but now is a sleepy remnant of itself for many of its miles. My characters go into ‘my’ pub, drink the beer I drink, go for meals in ‘the other’ pub, go into ‘our’ paper-shop, walk past the village school, the castle the bluebell field, Rose Cottage, the old school cottage…  My dilemma is whether I should rework these scenes into another imaginary location, changing, omitting, adding features and places. Might people I know think I’m writing about them if my story is here in our village? Might I inadvertently have a story-line which parallels a real situation of a real person – a person who might think I have stolen the story from them?

Recently I have been reading a series of books set not far from here, in and around Bridgwater, Burnham, Brean Down and the coastline all along here, a coast I know very well. The series is by Damien Boyd, they are police procedurals ‘starring’ Nick Dixon a maverick police officer.  As a reader it’s been quite exciting -‘ooh, I know that golf club/church/street/motorway services!’  I have even been into a couple of the pubs he mentions (no surprise there!) One of the novels is set when we had terrible floods down here in 2014 where a lot of our county was under water for months. Of course, in the novel, the crime scene was also under water!

Reading Boyd’s novels has really set me thinking yet again about location… our little village has so much to offer as a setting for novels – ruined church built on the site of a much older Anglo-Saxon chapel, a Neolithic hill fort, an ancient wharf where Phoenicians, Romans and Vikings shipped stuff out and brought stuff in, brickworks, claypits, quarries and lime kilns, ancient caves, water meadows, dangerous mud and quicksand, dunes, floods and a tsunami, golf course, wonderful pubs, restaurant, tearoom, picturesque and quaint old buildings, stylish new buildings, mysterious wooded areas with strange earthworks, nearby motorway connecting to London, the north, the south… anywhere in the country really! – legends of pirates and smugglers, local characters, real celebrities (John Cleese, William Lisle Bowles, Hannah Moore) sea frets and sea fog (the fog horn now defunct)…

Hmmm, I must ponder some more…

Meanwile, a link to my books:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_9?url=search-alias%3Daps&field-keywords=lois+elsden&sprefix=lois+elsd%2Caps%2C138&crid=220KBOUYSDIGX

“Loving Judah”:

https://www.amazon.co.uk/LOVING-JUDAH-LOIS-ELSDEN-ebook/dp/B00A4LJW7C/ref=sr_1_9?ie=UTF8&qid=1506500671&sr=8-9&keywords=lois+elsden

“Flipside”:

https://www.amazon.co.uk/FLIPSIDE-LOIS-ELSDEN-ebook/dp/B00FAZTZDI/ref=sr_1_5?ie=UTF8&qid=1506500671&sr=8-5&keywords=lois+elsden

Damien Boyd:

http://www.damienboyd.com/

…and an interesting article from some time ago about Uphill:

http://www.thewestonmercury.co.uk/news/when-uphill-s-seafarers-were-replaced-by-tourists-1-310178

Who’s downstairs? The room below is empty!

Today I’m sharing an extract from my e-novel ‘Flipside’, published in 2013 and set in the Pennine town of Oldham. Here is part of the blurb: Jaz has moved from Bristol to be with her recently widowed brother; she is a teacher and she has moved from a high-flying head of faculty post in a top school to take a lowly temporary position in a challenging school in the north of England. She is up to the challenge, but she does not expect to find her life is in danger from a man who has already butchered three women; she has met the love of her life, but is he, could he possibly be, the murderer?

Jaz is at her flat, alone, marking her students’ work: ; David has gone out to meet Jaz’s brother Kiran – they were biusiness partners but now they have fallen out.

I dismissed the noise at first, then listened for it. It was outside; it came again. My flat was above a shop, a confectioners and more recently a flower shop. It had been empty for many years, there couldn’t be anyone downstairs. Blinds were pulled down over the windows and door, the adverts on the glass were for things I couldn’t even remember. Originally there must have been a way up from the shop to the living accommodation but there was no trace of that now, a door at the side of the building led into a small hall, then a staircase to a landing and my front door.

There was definitely someone moving around downstairs.  I left my work, pulled on my trainers and hurried downstairs and out and round to the front of the empty shop. The blinds were still down, there was no light and the door was locked.

I knocked without expectation of anyone hearing. They were probably in the back where there must be store rooms and perhaps an office. I walked back down the passageway, past my door and round into the alley. The windows in the back wall had bars across, everything in darkness. There was a bell push but I could hear nothing when I pressed so I rapped on the wooden door. I knocked again but there was no sign of life, whoever it was had gone without bothering to see me. The rent was paid until April and by then who knows where I might be.

The alley was cobbled but grass and weeds were everywhere, and judging by the number of empty cans this was a favourite haunt of local youth. It was cold and damp and I hadn’t bothered with my fleece. Chilly now, I gave up and walked back and turned the corner to go inside.

Someone was standing in the entrance of the passageway between the shop and the disused spiritualist church next door. He was outlined by the oblique light from the street lamp on Thomas Street, silhouetted in the orange glow. I stopped, startled and then alarmed.

It was David. I was dismayed he was back so soon, things hadn’t gone well with Kiran. I called his name but then he was gone. Things must have gone disastrously. I ran up the passageway and turned into Thornbrook Street but he’d vanished.

I was frightened. He was alright when he left the flat, so what had Kiran said or done? I ran past the shop front to the corner and glanced up and down Thomas Street. It was deserted, but I saw David moving away from Lees down past the cemetery.

He was walking swiftly, head down. I only hesitated a second and then began to run after him. I was out of breath by the time I passed the other deserted shop on the corner of Spring Lane, but I had to catch him. I trotted down the uneven pavement past the row of houses on the other side of the road, and then the big red brick house which had some connection to a vanished mill. I couldn’t see him as I came to the end of the cemetery wall and Hopkin Mill Close. I passed the old cottages which looked down over the pasture where horses grazed.

We’d walked down here a couple of times, holding hands and he’d told me about disappeared mills and farms and dairies and the history of this little green pocket.

I walked as fast as I could. It must be bad, it must be really bad. There were lights on at the farm, the house was on one side, a barn on the other; I continued down the narrow, pitted lane, taking care of the rough bumps and deep pot-holes in the unpaved surface.

I wasn’t going to catch him unless he stopped but I couldn’t leave him while he was so upset. I was nearly at the ford and I was the only one out on this foul damp night, not a single jogger or dog walker. I was very cold.

It was hopeless. I’d have to go home and wait until he came back. Why had he run away from me? It could only be that something so awful had happened between him and Kiran that he couldn’t face me and I wondered how fragile he really was.

I wearily stepped onto the little metal footbridge over the stream, the small beginning of the River Medlock. There was no sign of him continuing up towards the main road or striking either way along the footpaths through the Medlock Valley. I stood shivering, feeling sad and alone. I was overwhelmed with grief and lifted my face to look up into the misty sky as if to seek some comfort. All my feelings of loneliness and desolation returned and I had an urge to go back to the flat, pack a bag, find a taxi and go to the nearest station to flee south.

I turned back. Standing in the middle of the road staring down towards me was David. Suddenly, unaccountably I was frightened, I was frightened of David. Things Kiran had said, scraps of venom which had seemed impossible, unthinkable rushed into my mind. Angry, violent, frustrated, trained to kill.

I called his name again but he didn’t answer, just stood staring at me. I was really scared; he was so still, so motionless, standing ready and alert, on the balls of his feet. He stood beneath a light but I couldn’t see his face, shadowed and hidden by his hood.

Hood? David hadn’t got a hood on his jacket, I couldn’t think of anything he had with a hood. He only wore a cap and had gone to meet Kiran bare-headed.

This man wasn’t David, I could see now that he wasn’t. He was slimmer, perhaps even taller, but his legs were thin.

He’d been in the shop, or round the back, or in the hall leading to the stairs up to the flat and he’d stood looking at me standing in the passage. He’d hidden somewhere and watched and followed, and now he was standing in the road, staring at me.

I looked round. The road continued up towards Holts Lane where there were houses with lights on. I couldn’t run up there, even if I was being chased, it was too steep. I didn’t want to leave the road, it would be madness to follow the footpath by the stream, there were bushes and trees to be dragged under. Anyone out on the open grassy areas at this time of night in this miserable weather wouldn’t be bothered by a man and a woman, even if he was chasing her, or had hold of her, even if she was struggling and crying out for help… I was weak with fear, petrified, frozen, unable to move or run anywhere

When nothing happens

Like many people I’m on Linkedin (which for a quite a while, for no reason, I thought was called Lindlekin ) I rarely use it at all but occasionally I get notifications and today it was from a writing group, and it was a question “When nothing happens – Do you like stories that have ambiguous endings or stories in which not much happens? For example, instead of being plot-driven, a story can be character-driven?”

Now that’s a very good question! I actually don’t like stories where nothing much happens… I’ve written before about my reading habits, and how I think in some ways I am not as good a reader as I used to be – although recently I’ve had string of successful ‘reads’, so maybe I’m improving! I used to be able to wade through anything and persevere to the end… now ‘when nothing happens‘ I tend to give up! A friend in our reading group loves beautifully written books, loves the language of them… but I’m afraid I want some story line, I want some sort of action! I don’t mean that there has to be a punch up on every page or a chase or a romantic development, but I want to feel as if there is some sort of progression.

It’s the same in my writing, I like to have some sort of progression, people change, relationships begin or end, events occur – unexpected, unlooked-for, sometimes unwanted! I guess I like plots! Characters are everything, and setting, but there must be a plot… and endings… satisfactory endings are vital! A satisfactory ending is not necessarily a closed, completed ending, it can be open or ambiguous – but it must conclude the proceedings! I have a very good friend who very kindly tells me honestly what she thinks of my stories, and I always take great heed of her suggestions and advice; on one occasion she commented that an ending (of Flipside) was too brief – everything was wrapped up and concluded too hastily and although the mystery was solved, the characters were left sort of hanging about! So in the next book I worked very hard on the ending – and I’m delighted to say she approved!

Just to briefly look at the endings of my novels…

  • Farholm – the puzzle is solved, the mystery revealed, but for the characters there will continue to be difficulties after the conclusion – grieving will continue, an unhappy relationship struggles on, and another relationship will never even start
  • The Stalking of Rosa Czekov – the stalker is revealed, but  a new relationship based on a rather precarious foundation begins on almost the last page
  • Loving Judah – a resolved ending, but I hope I have pointed the reader towards realising there will be a rocky road ahead for two of the characters
  • The Double Act – a complete conclusion – but when I came to do the final edit, I had to add an extra bit – an epilogue I guess you could call it. The dramatic action had ended in a flourish, but the reader needed a come-down, so I added a final piece when the two main characters are visited by the investigating police officer some months later; readers can imagine an optimistic onward journey, I hope
  • night vision – all the secrets are revealed, and the main character is overwhelmed with happiness and relief, but I hope the reader will see that in actual fact, her optimism might be misguided
  • Lucky Portbraddon – for some of the Portbraddon family, their lives seem settled and hopeful at the end of the book; for others there are unresolved issues, but I hope it is a satisfactory ending since the characters all seem in a position to deal with an unsettled future
  • The Radwinter stories – the first novel, Radwinter, was supposed to be a stand-alone story with a complete conclusion and a short epilogue to pull everything together; it could have remained like that but I realised only half the story was told, and so a sequel appeared… and then it seemed somehow a series emerged. I hope each one is also stand-alone, and I try to tie up the different narrative strands satisfactorily

So to answer the original question – I don’t like books where nothing happens, I don’t mind an ambiguous ending, but it must be a satisfactory ending!

Here is a link to my books:

https://www.amazon.co.uk/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=lois+elsden

Setting the scene in a familiar place

I have only written one novel which is set in a real place as opposed to an imaginary one. In Flipside the action takes place in Oldham in the actual area where I lived for nearly fifteen years, Lees. I made up roads, and pubs and two schools and café, and most importantly an old mill,  but the real library featured in several scenes, the cemetery, a country walk, some actual pubs… In some ways I found it straightforward, because describing the area only needed me to walk out of the door and wander round the village, or get in the car and river out onto the moors. However, there were things which I had to be very careful about… it was no use saying it would take ten minutes to walk somewhere if really it took half an hour. I had to make sure that geographically certain things were possible. In my imaginary locations I can add in extra roads, create shortcuts, build motorways if I want!

I have just started reading a book called As The Crow Flies by Damian Boyd which is set here in Somerset! The first scene takes place in Cheddar, just ten miles away. The main character goes for walks in places I’ve walked, lives in a town I’ve often visited, and there are references to all sorts of local things. I have only just started reading it, so I don’t know if he actually visits our town of Weston-super-Mare, but there are seven books in the series so it’s likely that at some point our little seaside town will get a mention!

It got me thinking… our little village is really interesting and full of character (and full of characters!) it would be quite a challenge to me to write something set right here. Because the main road from Weston going south now bypasses the village, it’s quite a quiet place; people only come into the village to go to the schools, or the pubs, or the village shop, or the churches or physiotherapist, or the restaurant or café or go to the boatyard, or go along the hideous new cycle track, or walk down to the beach or walk up over the hill. It’s a busy little place with lots of village activities, so there is plenty of scope for an adventure… However, because it is quite a small place, I would worry that people might think a character I describe is a real person, that quite accidentally I have a plot line which is similar to a real event…

A dilemma… maybe I won’t use our little village in fiction, maybe I will just content myself with writing about it here!

here is a link to my novels – apart from Flipside, all are set in a completely imaginary place!

Promoting my stuff

If you’re just an ordinary person, bragging about yourself is totally alien… If you’re an ordinary British person, it’s even more so. We’re not good at receiving compliments, modesty and self-deprecation are qualities ingrained, so now for me, when I want to reach an audience for my books, it’s tricky to balance overcome my natural unwillingness to blow my own trumpet. I guess that’s where agents come in, agents can promote work, and get it out there in an expert way. However, I don’t have an agent, and in a funny sort of way, now I have been self-publishing and self-promoting for five years, I sort of like it – every success is down to me! Oops, am I blowing my own trumpet?

Why do I want people to read my stories? Why do musicians want an audience? Why do artists want the world to see their work? Why do actors get up on a stage rather than prancing around in front of a mirror? For me, being a story-teller is natural, it’s what I am, in my every day life I’m for ever going on about something or another, something that happened to me, something I saw/did/heard/learnt/took part in. When I was a professional teacher, the kids would always say ‘oh no, not another story’, when I launched into something – I think (hope) they actually liked my ramblings… I did it almost without thought, my mind leaping from the subject in hand to something which happened to me or a friend or a cousin, or something I just randomly made up to entertain.

An example of the ‘made-up’ stories I told my students, apart from ‘the ghost of the fourth floor’ which became a college legend, was about my teaching assistant, Sally. I can’t even now remember how I got onto talking about what we had done in our lives apart from working in schools, when I went into a lengthy description of Sally’s past life growing up in a circus, being a trapeze artist with spangly tights and revealing costume, how in her free time she was exceedingly modest ad wore long dresses, and her future husband fell in love with her when she was looking after the coconut shy and he caught a glimpse of her ankle as she bent down to pick up a fallen coconut…

So back to my trumpet blowing… Yes, I want people to read my stories! yes I actually think they are not too bad – self-deprecation alert – they are quite good! So… if you haven’t read any yet – here is a really brief fanfare for each:

  • Radwinter – Thomas finds out more about himself and his own family than about his ancestors… who actually had quite a dramatic time, fleeing 1830’s war-torn Warsaw and jumping ship in Harwich
  • Magick (Radwinter 2) – the rather terrifying father of Thomas’s step-son comes in search of ‘his boy’
  • Raddy and Syl (Radwinter 3) – mysterious Moroccans preying on an old woman, a disappeared woman who may not have even existed, and shocking truths about his own family – Thomas has quite a difficult series of event to deal with
  • Beyond Hope (Radwinter 4) – Thomas meets a dangerous psychopath, and somehow gets involved in people smuggling
  • Earthquake -(Radwinter 5) – a haunted hotel, an eighty year old mystery which brings danger to the present… Thomas is really under pressure
  • Farholm – who  killed young girls on the island of Farholm? Is he still on the loose, or was a recently widowed woman’s dead husband responsible?
  • The Stalking of Rosa Czekov – who stalked Rosa to her death… and has s/he moved on to a new victim?
  • Loving Judah – can Aislin and her husband Peter ever get over the death of his son Judah?
  • night vision – a thirty year old murder is discovered
  • Flipside – is a war damaged veteran responsible for a series of dreadful murders… or is he a victim pf more than his war service?
  • The Double Act – Don’t think this novel is a romance, this may be a love story… but the other side of love is dark love
  • Lucky Portbraddon – perhaps the Portbraddons are not so lucky, murder, drugs, madness, modern slavery… but also unexpected love

Are you tempted? They are all available as e-readers, Radwinter is also available as a paperback

https://www.amazon.co.uk/s/ref=a9_sc_1?rh=i%3Aaps%2Ck%3Alois+elsden&keywords=lois+elsden&ie=UTF8&qid=1499501921