Categories
Fiction

FICTION: The Short Stay

All they want to do is get out of their wet clothes but the key doesn’t work. As Hannah struggles, Joe stands behind her sniffing the warm, musty air of the corridor.

‘Stinks of mice.’

Hannah tries pulling the key out a little as she turns it. She tries pulling up on the door handle. She tries pushing the key harder into the door.

‘Let me try,’ says Joe.

He pushes her aside, reaches for the key, and turns it without the slightest trouble.

‘Easy, see?’

The flat is smaller than it looked in the photographs on the booking website. The laminate flooring is scuffed and there is a vegetal smell.

Joe lugs his bag into the bedroom leaving Hannah to carry her own.

‘Fucking rail replacement fucking buses,’ says Joe, more to himself than to her. ‘“Let’s spend Christmas somewhere different,” she says. Oh, yeah, nice one. I don’t know why we ever bother going anywhere with the state of the trains in this country.’

‘Never mind,’ says Hannah. ‘We’ll have an early night tonight and explore the city properly tomorrow.’

Joe hangs his sodden black trenchcoat over the back of a chair and pulls his wet shirt away from his bony torso. Looking around he puffs out, despairing and disbelieving.

‘Merry Christmas to us, and happy anniversary.’

‘This is just a base, though, isn’t it?’ says Hannah, her voice beginning to crack.

‘You’d better change,’ he replies. ‘You look like a drowned cat.’

Hannah pushes a snake of dyed black hair behind her ear, her bangles rattling, and slides her glasses up her nose.

Joe won’t look at her. As he heads to the bathroom with their shared toiletry bag he slides past without making contact.

Alone, Hannah listens to the room for a moment. It has no sound at all. It’s too small and too full of furniture to reverberate. She wonders how many flats they managed to squeeze into the former warehouse when they converted it. Too many, anyway.

She hears the sounds of Joe using the toilet, the flush, the shower. Bathroom smells, shit and lime-scented gel, fill the small flat.

She removes her dripping dress and stands in her underwear, shivering and goose-bumped, while she unpacks her bag. She puts on pyjama bottoms and an oversized t-shirt and heads to the combined sitting room and dining area.

There are two windows looking out over an office block. Only a few lights are on – a meeting room on the first floor, an office on the sixth – so the wall of glass forms a blank, black mirror. She moves and spots her own reflection, sees herself doubled, distorted, reflected, shadowed. The flat’s windows open a few inches, not enough to jump from, but enough to let in frosty air and sounds from the street below: a whisper, a shrieking laugh, and the crunch of broken glass.

Joe emerges from the bathroom wrapped in a towel. His fine white hair is plastered to his head and his body looks thinner and paler than ever.

‘All yours,’ he says and disappears into the bedroom.

Hannah goes into the bathroom and locks the door. She can’t use the toilet because it’s not private enough for her to relax, but she sits on the seat for a while. There’s no window, only an extractor fan that hums at an irritating frequency. After a while she gives up and gets up to wash. Before she picks up the soap, she removes her wedding ring. It’s a struggle to get it over the knuckle, over the swell of flesh it pushes before it, but sheer force does the job. She places the ring carefully on the glass shelf above the sink. The metal clicks into place as if magnetised. Hannah washes her hands, neck and face, then dries herself with the only other towel in the flat. She flosses, cleans her teeth, and ties her hair up with an elasticated band.

When she reaches for the wedding ring, it is gone.

Her fingers crab and scrape around. She inspects the full length of the glass shelf. She drops to her knees and looks beneath the sink, finding only a tangle of cobwebs and hair. She looks under the bath and behind the toilet. She checks the plughole. No, it couldn’t have fallen down there, the strainer would have caught it. She pats the pockets of her pyjama bottoms. Finally, she looks into the toilet bowl where perhaps, she thinks, it might have rolled, which would be just her luck. Nothing.

‘What are you doing in there? Come to bed so I can turn the light off.’

Hannah feels a flutter in her heart.

She opens the door and, hesitating, steps across the hall to the bedroom.

He is already curled up beneath the duvet, his head almost buried.

‘I’ve lost my wedding ring,’ she says in a weak voice.

Joe emerges and peers at her, blinking and small-eyed.

‘What? When?’

‘Just now. Freshening up.’

He groans.

‘It can’t have gone far. We’ll find it in the morning. I’ll find it.’

She climbs into bed and reaches out for Joe.

‘Christ, you’re cold,’ he says, when her hand brushes his back.

He turns off the bedside lamp.

Exhausted but awake, Hannah lies and listens. Apart from Joe’s soft snoring, there is something else in the silence – the non-sound of someone holding their breath and holding still.

The morning is bright and Joe’s mood has improved a little. He even makes the coffee, bringing two cups into the bedroom.

‘Four sachets they’ve given us, and four little pots of fake milk. Stingy bastards.’

Hannah draws her knees up beneath the duvet and hugs them with one curled arm, the other lifting the steaming coffee cup to her mouth at intervals. Joe stares at his phone which, perhaps subconsciously, he angles so that Hannah can’t see the screen.

‘Can you have a look for my ring?’ she asks.

‘What? Oh, yeah, sure. In a minute.’

After a second or two he looks up from his screen and turns to her.

‘Why do you take your wedding ring off at all?’

‘It’s more hygienic,’ she says. ‘I don’t want it to get dirty under there.’

‘Yeah, but if you leave it on you’re putting it in hot soapy water. So it gets cleaned. It’s probably more hygienic that way, if anything.’

He turns back to his phone, chews his thumbnail to tidy the edges.

‘It’s supposed to symbolise eternity, isn’t it?’ he mutters. ‘Commitment. I never take mine off.’

‘What I don’t understand is how I lost it. It definitely didn’t roll and there’s nowhere for it to go.’

Joe puts his phone on the bedside table and limps into the bathroom groaning. She watches as he inspects the shelf, the sink, the floor, the plughole.

‘Probably got taken by the house elves,’ he says as he comes back to the bedroom. ‘Try asking for it back.’

‘How does that work?’

Stretching a t-shirt over his head and angular arms Joe says, muffled: ‘Hey, house elves – may I please have my wedding ring back? Like that.’

Hannah mutters the request under her breath. It doesn’t work, at least not immediately.

Joe spends another ten minutes investigating the bathroom before they go out and emerges with a shrug.

‘Sometimes there are gaps around the pipework but everything is sealed tight in there. I don’t know how you do it, I really don’t.’

Over an expensive breakfast at a cafe with oatmeal coloured walls and smashed avocado on sourdough toast Hannah says:

‘Let’s just forget about the ring and try to have a nice Christmas anyway. Just the two of us, somewhere new. We need to decorate the flat a bit. Brighten it up. And get some treats in.’

‘Beer. Wine. Gin.’

They spend the morning of the day before Christmas Eve shopping, buying a tiny tree with twinkling fibre-optic lights, a plastic wreath, and a candle that’s supposed to smell of fir trees. Joe lugs two heavy bags back from the supermarket and opens his first can of beer at exactly midday as he flips through channels on the TV.

As she lays out slices of ham, cheese and salami on a plate, and cuts a supermarket baguette into small rounds, Hannah looks at her hands. They look different without the ring, obviously, but do they look better?

‘We should go to the pub or something,’ says Joe after lunch, two cans of beer down. ‘While there’s still, like, an hour of daylight.’

They wrap up in coats, scarves, and hats and head out into the city. There are Christmas lights up in the centre and a busker is playing ‘Jingle Bells’ on an accordion. Hannah leads them to the cathedral which they circle, but Joe doesn’t want to go inside. The light begins to die and the grey sky turns flat, first, then begins to shade to blue. They drift back to the shopping precinct and its bright lights.

‘That place looks cosy,’ says Joe, spotting a half-timbered pub called Ye Olde Bear. He heads through the door and Hannah follows. It’s crowded and hot with half the customers in novelty Christmas jumpers. Joe pushes his way to the bar and raises a hand to get the attention of the barman. His wedding ring, a thick, plain band, glints amid the fairy lights. He orders Hannah’s usual half of lager and a pint of cider for himself.

Because it’s Christmas, when the usual rules don’t apply, they both drink too much. Hannah’s usual limit is three pints but she ends up drinking five. Dinner is two cheese rolls and a packet of crisps. Joe is on eight pints when he decides to switch to single malt whisky, because it’s Christmas, and Hannah agrees to have one, too, because it’s Christmas, and suddenly, it’s nearly midnight and the pub is closing around them.

They go from giggling arm-in-arm to arguing in no time at all. They both need the toilet but Joe insists on pissing behind a wheelie bin, prolonging her discomfort. He wants to find a kebab shop. She begins to cry, for no particular reason, just everything, and he raises his voice without meaning to.

‘Go back to the flat, then! Take the key! I’ll see you there when I’ve had my chicken doner.’

‘You want me to walk back on my own, in the dark, in a strange city?’

‘Fuck sake… Come with me, then!’

‘I really need a wee.’

He shoves the keyring into her hands.

‘I’ll see you there in, like, fifteen minutes.’

Hannah watches him stagger away and wonders what it is she feels, other than heartburn from the whisky and a pressing pain in her bladder.

The next morning, Christmas Eve, she wakes with a head that feels like concrete and a papery mouth. Joe is not with her. She croaks his name then checks her phone. There are several missed calls and messages from Joe, each more desperate than the last. She must have fallen asleep, or passed out, leaving him stuck in the street outside all night. The last message reads:

‘Will sleep in park. Fuck you.’

Dressing hurriedly, wanting to vomit, she rushes out and downstairs, trying to work out which park he might have meant. She calls him and listens to his phone ring as she walks over frosty cobbles. He doesn’t answer.

The nearest park is by the riverside. She makes a complete circuit, checking each bench and shelter, looking at the single-person tents concealed in the hedgerows and copses. She shouts his name, screams it, constantly redialling his number.

‘What if he comes back to the flat and I’m not there?’ she thinks after a while. She returns to wait for him.

Wide awake now, shaking with cold and adrenalin, she sits down in the kitchen. She closes her eyes, breathes out, breathes in, breathes out, breathes in, but calm never comes.

Her eyes pop open when something slams into the tabletop.

There in front of her something is spinning and shining. She is mesmerised. It slows to a teeter and then falls flat on its side. Her wedding ring. 

She sees the second ring fall, seeming to appear from somewhere just above her head, before it hits the table with force. It is thicker and heavier and begins to roll. To stop it reaching the table’s edge she reaches out and slaps it flat.

It feels hot.

She looks at her palm.

A perfect red circle has been burned into the skin.


Image based on a photograph by Luwadlin Bosman at unsplash.com

Categories
Film & TV

The infinite supply of BBC ghost stories for Christmas

There are only eight episodes of the BBC Ghost Story for Christmas, produced between 1971 and 1978. That’s not enough. Here are some suggestions for where to go next.

First, let’s address a technicality: the 1968 adaptation of M.R. James’s ‘Oh, Whistle, and I’ll Come to You, My Lad’ directed by Jonathan Miller was a standalone film in the Omnibus strand.

It inspired A Ghost Story for Christmas and is often spoken about as part of that strand. In the unlikely event you haven’t seen it – start there!

Seven of the eight core episodes were directed by Lawrence Gordon Clark. He wrote the first two before handing over that duty to people like John Bowen and David Rudkin.

The final episode of that original run, ‘The Ice House’, from 1978, was written by Bowen and directed by Derek Lister.

The short films and television episodes listed below aren’t all ghost stories. And they weren’t all produced by the BBC.

Some are lighter, some are darker. Some are quite cinematic, others distinctly low-budget studio productions.

I’ve chosen them because they trigger in me something of the same feeling I get from, say, ‘Lost Hearts’, an M.R. James adaptation with a period setting, or from ‘Stigma’, which has an original story and a contemporary setting.

If I’ve omitted a film you like, it might be because I don’t know about it – do leave suggestions in the comments. But it’s probably more likely at this point that I do know about it but decided it didn’t fit.

‘The Beast’ from the 1982 West Country Tales series, for example, doesn’t feel to me like the same thing at all, enjoyable as it is.

1. Dead of Night: The Exorcism, 1972

Written and directed by Don Taylor this episode of the anthology series Dead of Night works as both (a) a terrifying ghost story and (b) a commentary on class. It has a group of well-to-do friends gathering for Christmas in an old working man’s cottage which one couple has bought and renovated. The title hints at a twist.

BFI DVD (out of print) | YouTube

2. Dead of Night: A Woman Sobbing, 1972

Another story from the same anthology series which combines social commentary with effective, shiver-inducing horror. John Bowen’s script is about unhappy marriages, the sidelining of middle-aged women, and menopausal depression. Anna Massey is a brilliant actress and there’s less scenery chewing than in some TV plays of the period. And the sobbing woman, symbolic as she may be, is as creepy as hell.

BFI DVD (out of print) | YouTube

3. Wessex Tales: The Withered Arm

Adapted from a Thomas Hardy story this has the perfect mix of bleak landscapes, horrifying moments, and stillness. It’s got a distinct folk horror feel, too.

BBC iPlayer

4. Beasts: Baby, 1976

The whole of this series written by Nigel Kneale is interesting, and very much worth watching. But this is the episode which feels, to me, closest in tone to the work of Lawrence Gordon Clark and his collaborators. It’s about a haunted house, essentially, with Jane Wymark as a pregnant woman and Simon MacCorkindale as her VERY SHOUTY husband. They find a mummified animal in the walls of their cottage and (probably) supernatural occurrences ensue.

Network DVD (out of print, eBay) | YouTube

5. Mr. Humphreys and his Inheritance, 1976

A 1970s M.R. James adaptation ought to hit all the right notes but this very short adaptation of a lesser-known James story is flawed and slight. It was made by Yorkshire Television as an educational piece to demonstrate the power of music in film which means it has intrusive music throughout. The pay-off is worth 15 minutes of anyone’s time, though – one of those psychedelic, nightmare images that works so well on grainy 16mm film.

YouTube

6. A Child’s Voice, 1978

This is often described online as a BBC production, presumably as a bit of search engine optimisation clickbaitery. Not only is it not a BBC production – it is not even British. It was produced by the Irish company B.A.C. Films and filmed, I believe, in Dublin, with an Irish director, Kieran Hickey, and Irish crew. The script is by a Brit, though – film critic David Thomson. It stars T.P. McKenna as a writer who has a cult following reading his own ghost stories on the radio late at night. Then a character from one of those stories begins to call him on the telephone…

YouTube

7. Tarry-Dan Tarry-Dan Scarey Old Spooky Man, 1978

A recent discovery for me, this BBC production was written by Peter McDougall and directed by John Reardon. It’s set and was shot in Cornwall and tells the story of a troubled young man who becomes obsessed with a local tramp, and has nightmares about the stained glass in a local church. It’s Penda’s Fen adjacent but with a grittier, tougher feel, as Kim Newman has written about on his blog

YouTube

8. Casting the Runes, 1979

This is a big one being an M.R. James adaptation directed by Lawrence Gordon Clark, but for ITV (Yorkshire Television) rather than the BBC. It updates the story to 1970s Leeds and makes great use of bleak, snowy locations. It also makes the protagonist a woman (Jan Francis) and has her working in TV journalism, instead of academia. It’s atmospheric and unsettling but, like the original story, also has an element of suspense and adventure.

Network DVD (out of print, eBay) | YouTube

9. Ghost in the Water, 1982

This was made for children and it shows, being more Grange Hill than Lawrence Gordon Clark. It’s about working class children investigating a haunting in the industrial landscape of the English Midlands – all canals, comprehensive schools and council estates. The lead actors are amateurs and their performances sit somewhere between monotonous and annoying. But, still, that arguably adds to the unusual feel of the piece. It was directed by Renny Rye and based on a story by Edward Chitham.

BBC DVD (Google it) | YouTube

10. Classic Ghost Stories: Wailing Well, 1986

This series of five 15-minute Jackanory-style readings of M.R. James stories by Robert Powell is more effective than you might expect. They’re all good but I’ve singled out this one as a story that hasn’t, as far as I know, been adapted elsewhere. They were offered as extras on my BFI DVD set of the BBC Christmas ghost stories and are also available as a standalone disc.

BFI DVD | YouTube

11. The Woman in Black, 1989

I hesitate to mention this as it’s so well known, and feature length. But the mood and feel is so close to the work of Lawrence Gordon Clark that I can’t exclude it from the list. It was also hard to see for a long time, until the defunct label Network released a Blu-ray in 2020. It was adapted for ITV by Nigel Kneale from Susan Hill’s 1983 novel and was filmed partly on location at Osea in Essex. It’s fantastically moody and also has one legendary jump scare that still works even when you know it’s coming.

Network Blu-ray (Google it) | Amazon Prime streaming

12. Ghosts: Three Miles Up, 1995

An adaptation of Elizabeth Jane Howard’s classic of weird fiction made for a short-lived BBC anthology series. It takes some liberties with the original story but catches some of the mood – and also borrows from Lawrence Gordon Clark that love of desolate but beautiful English landscapes. It’s about two brothers who try to fix their relationship by going on a canal boat holiday together. It’s already going badly when they pick up a strange girl and things get really strange.

YouTube

Categories
Fiction

FICTION: Dead in a ditch

Where is the worst place you could end up haunting? I reckon my spots a contender. It was bad from day one, standing knee deep in the green water of a ditch, looking down on my own smashed body in the half-submerged hatchback.

Then it took them three months to find me, even right there by the main road between town and the village, because the reeds were high. I watched my body bloat and fart bog gas and liquify. I watched rats and insects help themselves to my flesh. I saw my bones emerge like the wreckage of a ship on the shoreline with the tide sliding out.

I tried not to look. I took an interest in the clouds in the big sky above the levels, and in the trees as they began to yellow at the edges and drop their leaves. I watched sunrises, sunsets, and stared at the stars – I could see them so clearly out there in total darkness. I counted cars, too, as they flew by. You’re going too fast, I thought, and remembered that people kept saying that to me, too.

Then, when the trees were bare with black branches, a car passed slowly enough that a child in the back seat saw the low sun catch the roof of the wreck. The car stopped at a layby a little way along the road into town. I could hear the burr of its engine and the tick of its hazard lights above the breath of the westerly wind. The police car came a little later and the road was closed. Then an ambulance. Then, just after dark, a forensics team with floodlights and tents. Finally, a pickup truck from a garage in town arrived and, by dawn, the car was gone, and it was just me and the dirty water around my jeans.

Mum and Dad came, parking at the roadside. Cars kept passing at twenty above the limit, one or two honking their horns in irritation at the blockage in the road. My parents couldn’t see or hear me as I murmured to them: ‘It’s alright, don’t miss me, don’t feel pain for me…’ Before they departed they left a stuffed monkey, a bunch of flowers in a heavy stone pot, and a card I couldn’t read. In the weeks that followed I watched the card blow away in the wash from an articulated lorry, the monkey turn ragged and grow green mould, and the flowers rot to black stalks. I didn’t see Mum and Dad again. I suppose they drove the long way round to town after that, so as not to have to think about me.

After a long while I got tuned into the other dead around and about. There was a pale smudge in the field opposite that I thought must once have been a woman. She seemed young and was always stooped, always weeping. The sound sometimes carried on the wind. She might have been there since the Civil War, or long before. One night in June I watched a Douglas C-47 with black and white invasion stripes on its tail pass silently overhead and fade out of existence somewhere over the old airfield. I learned that the famous Headless Horseman was real, too, though less glamorous than in the stories they told around town. He passed by, once a month or so, and was a nasty old thing. He had a dirty tunic streaked with brown blood and his head was in his lap, crushed and misshapen, but still screaming. He was always in a hurry to be somewhere. On summer evenings, if there wasn’t too much traffic, and the wind was right, I could hear the sounds of the battle of 1685 being replayed on the field outside the village. The teachers from the village school used to take us there to camp out, and tell us ghost stories as we toasted bread over a fire.

Years must have passed before I saw Dani again. I’d dropped her off in town before making that last journey and I suppose she had no reason to come to the village after I’d gone. Then one day, there she was, in the driver’s seat of her own hatchback, framed in the open window. She was a little older but no less beautiful. After the car had passed I realised there was also someone in the passenger seat. An hour later, she drove back and I saw her for another two seconds, a face in shadow, her hands on the wheel. I also saw that the man sitting next to her had a broad chest and tidy beard.

I’d always wondered how eternity would work. Wouldn’t you get bored? In life, I could hardly sit still, and was always after a distraction or a thrill. That’s probably why I drove so fast all the time, to feel not-boredom for a few minutes. But boredom, it turns out, is only a problem for the living. It comes out of being anxious the whole time about your status and how much you’ve achieved. It does us all right in the survival game. It keeps us moving and exploring. In death, though, you let time wash over you in an endless stream. I wasn’t waiting. I didn’t expect anything, or hope for anything. I just was, and just am.

If there was anything I longed for, and longing’s too strong a word, it was to see Dani again. When I died, the wires that connected me to the world were cut, but the cut wasn’t clean. An intermittent contact made me feel something, or remember how it felt to feel something, or something like that.

She passed along the road many times after that. Alone in the car; with the man; following a removal van; dressed for work in her supermarket uniform; dressed for a Christmas party in a sparkling silver dress, with the man in a shimmering suit; and in a wedding dress in a vintage car with ribbons tied to its radiator. Their car got bigger, the backseat gained a baby seat, then a baby, then two babies. They drove too fast, of course, because everyone did. The car hugged the bend, lifted a little one one side, always ready to tip.

Through cycles of sun and moon, summer and winter, flood and drought, I stood there with water boatmen skidding around my knees, and rats circling. The creatures knew I was there, somehow, in some simple way, because they never touched me, or went through me, or whatever would have happened.

There was no way for me to make any difference in the world, I knew that for sure. Still, I always wanted Dani’s car to break down as it passed me, so I thought hard about it, and one day, it did. I felt as if I’d made it happen. The engine cut out and she began to drift. She guided it into the verge and put on the hazard lights. Then she got out and walked along the road directly in front of me.

Her fine blonde hair had just begun to turn grey and there were new folds and grooves around her eyes. Speaking into her phone she said:

‘About halfway, yes, just past Crockford Farm.’

It was the first time I’d heard her voice in all these years and I experienced something like a memory of how it felt to yearn for someone. I remembered, for a sliver of a moment, how a sweet harvest apple tasted and what it meant to smell the sea.

While she waited for the mechanics to come, she leaned on a gate and, resting her chin on her arms, looked out over a field of yellow rapeseed.

Did she remember this was where it had happened? Did she ever know?

The recovery vehicle came, its orange lights throwing twists of fire on the surface of the filthy ditchwater. Within a few minutes the engine of her car was turning over. She put the radio on and I heard two bars of a song I didn’t know before she waved to the mechanic and sped off.

Over the years, Dani kept passing, back and forth, like an irregular pendulum, village to town, town to village. The car changed, and she changed, but I didn’t.

Her children got their own cars, which they drove much too fast, and I wondered if she ever used my story as a warning.

One day, after I suppose decades must have gone by, Dani appeared dressed in black in the back of a limousine, following a hearse.

A few years after that, the hearse passed again, and this time Dani’s children were in the black car that followed.

That night, the Headless Horseman passed, screaming mad, as usual. I screamed back.


The cover of Intervals of Darkness with quotes from John Grindrod and Rowan Lee.

If you enjoyed this story you’ll probably also enjoy my collections Intervals of Darkness (2024) and Municipal Gothic (2022).

Categories
Intervals of Darkness

Introducing Intervals of Darkness

My new book, Intervals of Darkness, with 14 weird stories, is now out.

You can buy it as a paperback or eBook more-or-less anywhere in the world, including

From the ghosts of marching soldiers haunting marshland to delivery drivers lost in nightmarish tower blocks, and from reanimated skulls to psychogeographers encountering ancient spirits on council recreation grounds, it’s a wide-ranging collection direct from my subconscious to you.

I hope you enjoy it.

Praise for Intervals of Darkness

“Newman returns to haunted Britain with fourteen more wonderful stories… Fans of folk horror and weird fiction will find a lot to love in this collection.” – Rowan Lee in her review at The Harvest Maid’s Revenge

“Impressively eerie and packed with shocks, Intervals of Darkness ushers the reader through 1970s grime and Gothic opulence, with moments of powerful poignancy and startling strangeness. You’ll want to linger over these stories.” – Verity Holloway, editor of Cloister Fox and author of Pseudotooth and The Others of Edenwell

“Housing estates, factories, tower blocks and caravans, nowhere is safe from Ray Newman’s dark imagination. Existing somewhere between Robert Aickman and JG Ballard, these blackly funny tales are sure to chill you, no matter how high you turn the central heating. It’s every bit the equal of Municipal Gothic, and if anything it’s darker and stranger.” – John Grindrod, author of Concretopia, Iconicon and Outskirts

“You don’t know what you’re getting next – Cronenberg in a dingy terrace, Tim Powers jumping at shadows, M.R. James in a piss-soaked alley. The canvas feels bigger than Municipal Gothic.” Thom Willis, editor of Microwrites

“Witty, creepy, moving, and brilliantly written weird fiction…” – Jamie Evans

“Chilling, atmospheric and darkly witty.” – Stephen Graves, director of The Dead of Winter

How I wrote these stories

I’ve written a ‘behind the scenes’ breakdown of each story in the collection without, I hope, any spoilers. A friend has been reading each story, then reading my notes, and that’s probably a good approach.

Categories
Intervals of Darkness

Story-by-story: Industrial Byproducts

This is, I suppose, an example of working class, social realist body horror – a story about what tough work does to human flesh.

It started life as a passage in a novel I was working on which I used to describe, only half joking, as War & Peace on a council estate. Why should only aristocratic families get the dynastic epic treatment?

That book featured characters not based on members of my family, but certainly borrowing details of their biographies, and mannerisms, mixed up until they were no longer quite recognisable.

The specific incident that prompted this story, though, did involve my late father.

For a long stretch he worked nights as a lathe operator at a piston factory. He’d come home in the morning with curls of metal embedded in his fingers – like splinters, but worse. He or my mum would remove them before he could go to bed.

That also got me thinking about how my mum and aunties, and various women I worked with in factories, would eventually resign themselves to cropping their hair and trimming back their nails, to make factory work easier

‘Industrial Byproducts’ takes that process to its logical conclusion, perhaps also inspired by this amazing, or awful, advert from the 1980s which burned itself into my brain when I was a child:

I could tie myself in knots worrying about whether I’ve got all these details right, or whether they reveal some internalised snobbery, or whatever.

But if part of the point of writing is catharsis, and if we value honesty, I need to crush that urge to self censor. I need to let it, whatever it is, stream out.

The last lines of this story were painful to write. They’re even more painful to read back from the other side of the loss of my dad.

Catharsis. Honesty. Confronting the things that scare us most.

A quote from Verity Holloway: "Impressively eerie and packed with shocks... moments of powerful poignancy and startling strangeness. You'll want to linger over these stories." Next to it is the cover of Intervals of Darkness with a black background and red details. The illustration is of a person casting a long shadow. Nearby is another shadow suggesting a lurking but hidden figure.

Intervals of Darkness, a collection of 14 weird stories, is out today as an eBook and paperback:

Categories
Intervals of Darkness

Story-by-story: The Unbidden Guest

Funny story: I stole the title of this period horror story set in 19th century Milan from P.G. Wodehouse, who gave us ‘Jeeves and the Unbidden Guest’ in 1916.

For me, writing weird stories, or ghost stories, is often about an initial flare of inspiration, like the striking of a match.

When I saw the title of the Wodehouse story I thought: “Wow, that sounds like something from M.R. James or H.P. Lovecraft.”

I amused myself for a while by imagining how Jeeves might handle a haunting – “Perhaps you might invite one of your fellow members of the Drones Club, Mr Carnacki, to join us at Totleigh Towers, sir…”

Then, on holiday in Milan, the title popped up again and collided in my brain with a vague memory of The Aspern Papers by Henry James which I last read about 30 years ago, and the fantastic BBC film Schalcken the Painter, based on a story by Le Fanu.

Although most of my recent stories have had contemporary or post-war settings I’ve always enjoyed writing pastiche, and used to produce lots of faux-Edwardiana. So this was a slight departure, but not a major detour.

To get started, I found and devoured a slew of 19th century travel memoirs by British poets and writers, partly to train my brain on the prose style, and partly to, frankly, steal some of their descriptions of the historic city.

Having a narrator who is himself a stranger in town adds a degree of separation. If I get anything wrong, there’s his stupidity to blame.

Having ploughed through Byron at university, stanza after stanza, canto after canto, and Shelley as a teenager, I also enjoyed the challenge of writing some suitably bad poetry for my hero, James Lemuel Madin.

Again, it didn’t need to be good because he’s more Thomas Thorne from Ghosts than John Keats. Bumptious. Bigheaded. Convinced of his own brilliance.

Someone in my writing group read an early version of this story and said: “I don’t like him very much.” To which I’d say, correct. I don’t like him very much either.

That Madin’s best-known poem is an epic called Scholomance is (a) another point of connection between two of my stories and (b) adds another layer of Gothic spookiness, Scholomance being the mythical school of black magic mentioned in Bram Stoker’s Dracula.

Here’s the other story I’ve written that mentions Scholomance. There might be more to come.

A quote from Rowan Lee: "Newman returns to haunted Britain with fourteen more wonderful stories... Fans of folk horror and weird fiction will find a lot to love."

Intervals of Darkness will be published tomorrow, Saturday 7 September. You can pre-order the eBook now.

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Intervals of Darkness

Story-by-story: Winter Wonderland

I published this story here on the blog last December as part of my own emerging tradition of sharing a ghost story for Christmas.

It’s not really a ghost story, though, so much as a tale of horror, in a few ways.

First, it has more nasty physicality than I usually go for – more bone and blood.

And there’s actually a moment in the story that appalled me as I wrote it. Bloody hell, where did that come from?

The answer is, my subconscious, which I tried really hard to set free as I wrote all of these stories, but especially this one.

This story also came out of conversations with my friend Jamie Evans who is a fan of Rod Serling and often talks about the concept of ‘cosmic justice’.

His own excellent stories often follow this pattern: introduce us to someone truly awful, make clear that they deserve whatever they’re getting, then give the reader the satisfaction of watching them get it.

Then there’s the pleasure of subverting, or perverting, the idea Christmas. Many writers of weird fiction, and makers of horror movies, have explored this over the years, perhaps starting with Dickens.

Christmas is supposed to be a happy time of family gatherings, peace on earth, and goodwill to all men. When you lace it with alienation, violence, and monstrous creatures, the juxtaposition can be delightful.

Check out the early slasher movie Black Christmas or the 2010 film Rare Exports for more of that.

Another strain of real world horror is, of course, financial and social.

The narrator of this story knows more about their parents’ money problems than any child should, and is weary before their age. 

“It me”, as people used to say. I grew up poor and, as a child, was constantly aware of what we could and could not afford, and could tell when money was particularly tight.

So I used to do things like tearing up letters about school trips and throwing them away on the way home to avoid stressing my parents out.

I now realise, though, that I had one great privilege: parents who cared for and loved me, and upon whom I could rely. But there were plenty of children at school and on the estate who didn’t have that.

And there are plenty of kids in the city where I live who are dealing with neglectful, selfish or chaotic parents right now.

A pen and ink drawing of a grotto in a mound in a dark wood. There is a sign that reads "Good children welcome".
My original illustration for ‘Winter Wonderland’.

The lost illustration

One thing I’m a little sad not to have carried over to Intervals of Darkness is the illustration I drew to accompany this story when I first published it.

It’s quite cool, I think. I should probably get it framed and add it to my gallery of spooky art.

A quote from Verity Holloway: "Impressively eerie and packed with shocks... moments of powerful poignancy and startling strangeness. You'll want to linger over these stories." Next to it is the cover of Intervals of Darkness with a black background and red details. The illustration is of a person casting a long shadow. Nearby is another shadow suggesting a lurking but hidden figure.

Intervals of Darkness will be published on Saturday 7 September. You can pre-order the eBook now.

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Intervals of Darkness

Story-by-story: The Pallbearers

This is the shortest story in the collection and was inspired by a paragraph in The Valley, Elizabeth Clarke’s 1969 memoir of Welsh country life.

She describes the care with which the men of the village carry a coffin from a remote farmhouse to the chapel on the day of a funeral.

It’s poignant rather than horrifying but I read her book over a couple of bleak, misty days in an out-of-season coastal town where we’d gone to scatter some ashes.

On the train home, under heavy cloud, her brief account filtered through my subconscious and emerged as a first draft typed in some discomfort on a fold-down railway table.

As with other stories in this collection, its location shifted from the source to the West Country, and I had the landscape of the Mendip Hills in mind in particular.

The characters have names of people from school, from my estate, from war memorials, and from cemeteries.

I collect the names of the dead in a notebook for later use – a macabre habit in its own right. I also share them on BlueSky with the hashtag #CemeteryNames.

Like many of my nightmares (I’m a terrible one for nightmares) it’s about struggling to complete a task, or a journey, as the very ground beneath your feet slows you down, or trips you up.

It’s a very short story, so this is a very short blog post.

A quote from Rowan Lee: "Newman returns to haunted Britain with fourteen more wonderful stories... Fans of folk horror and weird fiction will find a lot to love."

Intervals of Darkness will be published on Saturday 7 September. You can pre-order the eBook now.

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Intervals of Darkness

Story-by-story: The Horns in the Earth

Lots of my weird stories are also supposed to be at least a little bit funny. The self-regarding literary psychogeographer who narrates ‘The Horns in the Earth’ gave me lots of opportunities for humour.

For example, I had great fun coming up with titles for his books – Avenues and Alleyways: an exploration of the back passages of Britain is a particularly puerile example.

But this character is also a reflection of me. His constant stream-of-consciousness search for ways to jam disparate ideas together into a coherent story is a bit like how I write fiction:

I found shards of crockery, chunks of blue glass and an ink bottle, and several pieces of terracotta with fractured text: ‘Ginger beer’. A century’s-worth of crap that had tumbled down the slope from the houses on the ridge above… Hold on, I thought – is this a metaphor for something? These post-war dormitory estates as human landfill. Dumping grounds on the edge for people towns and cities don’t want. A nation divided. Yes, this was good, definitely worth tugging at.

This is another story set largely on council estates.

I had in mind, as I often do, Southmead and Lockleaze in Bristol; the Sydenham estate in Bridgwater where I grew up; and the Treneere estate in Penzance, where I spent hours wandering when I lived in Cornwall.

I took an alleyway from one, a recreation ground from another, an arcade of shops from a third, the wind-swept square of a fourth…

I’m so familiar with the textures and feel of places like this that writing it comes naturally. In fact, my dreams are often set on council estates – usually a distorted version of Sydenham – as if that’s the default game map for my subconscious.

An overgrown wooded bank on an industrial estate with the corner of a former council building and a rusting shipping container.
The site of the ancient Chapel of St. Anne.

Another important influence on this story is an ancient religious site near where I live, near the CO-OP, round the back of an industrial estate.

In St. Anne’s Woods there’s a wooded valley with a holy well.

It’s surrounded by iron railings and the tree above it is covered with tattered rags – the remains of face masks hung there as a sort of offering during the pandemic.

There’s often a burned out moped nearby.

The well was associated with the Chapel of St. Anne which stood about 350 metres away. It was destroyed by Henry VIII. In 1486, his father Henry VII made a pilgrimage to the chapel and the well.

So, I’m gently mocking psychogeographers, while also indulging in a little psychogeography myself.

Cake and eat it, me.

‘The Horns in the Earth’ is also the closest I’ve got to indulging in a trope I dislike: the scary youth in a hoodie.

Without wanting to self censor, I challenged myself when I noticed the story drifting that way, and I hope I’ve done something slightly more interesting than simply say: aren’t working class kids terrifying?

That the narrator finds them so perhaps tell us something important about him.

A quote from Verity Holloway: "Impressively eerie and packed with shocks... moments of powerful poignancy and startling strangeness. You'll want to linger over these stories." Next to it is the cover of Intervals of Darkness with a black background and red details. The illustration is of a person casting a long shadow. Nearby is another shadow suggesting a lurking but hidden figure.

Intervals of Darkness will be published on 7 September. You can pre-order the eBook now.

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Intervals of Darkness

Story-by-story: Father Paul

What if the bearded hippy vicar who used to guest star at my school assemblies had to deal with the events of The Exorcist? That simple question was the seed for this story.

The vicar who came to my school wasn’t called Paul but he did have a beard and an acoustic guitar. He was a Cambridge graduate and softly well spoken.

And his church on the estate was a post-war modernist building, with concrete columns and parquet floors, at which I attended harvest festivals, christenings and weddings.

But I can’t say that my character of Father Paul is ‘based’ on this real vicar because when I knew him, I was a child – and not one who regularly went to church.

In other words, Father Paul is a creation inspired by memories of vague impressions.

The main thing I took from the real vicar is the title ‘Father Paul’. Because our vicar was always called ‘Father…’ even though he was Church of England.

When I shared drafts of this story with various critical friends, a couple picked me up on this detail, thinking they’d found a mistake. But (a) that’s how it was and (b) it turns out lots of CoFE vicars get called ‘Father’ informally; some dislike it, most don’t.

Also in the mix was (and I might almost say ‘as ever’) the Enfield poltergeist, the classic working class English haunting. Chris Coates has written a pleasingly snarky debunking of the Enfield case.

Personally, I don’t believe for one moment that anything supernatural happened in that particular house.

For this story, I asked myself, how would an unequivocally real poltergeist case look and feel? What would need to happen for somebody level-headed to really believe in what they were seeing?

And how might a cunning demon or devil go about denying an exorcist documentary evidence of the facts as part of its mischief?

Finally, as I’m sure many people will notice, there’s a touch of a famous British folk horror film here, too, which I won’t name because it would probably constitute a spoiler to do so.

When you’ve read the story, let me know if you’ve worked out which film I mean.

More generally, the landscape of Bristol, and of my hometown, both of which were urbanised rapidly after World War II, continues to inspire me.

Concrete laid over old orchards. Council houses on hills and in valleys with who knows what beneath the mud.

Place names borrowed by local government officials from those of farms, fields, lost manor houses, and other landmarks otherwise wiped from the map.

How many exorcisms do we need?

I’m very conscious that poltergeists and exorcisms might be played out, or at least hard to find new approaches towards.

In this case, I hope that the setting (an English council estate), the quirk of a non-Catholic exorcist, and the streak of folk horror, might make it feel fresh.

Having said that, for more in a similar vein, I recommend The Borderlands, a somewhat successful 2013 film about Catholic priests sent to exorcise a church in Devon.

A quote from Thom Willis: "You don't know what you're getting next – Cronenberg in a dingy terrace, Tim Powers jumping at shadows, M.R. James in a piss-soaked alley. The canvas feels bigger than Municipal Gothic."

Intervals of Darkness will be published on 7 September. You can pre-order the eBook now.