Showing posts with label contemporary romance. Show all posts
Showing posts with label contemporary romance. Show all posts

Sunday, May 31, 2020

Every dog has its day by Priscilla Brown

Outside of a dog, a book is man's best friend.  
Inside of a dog, it's too dark to read. 
(Groucho Marx)



The mayor's farm and her town are strapped for cash. 
Is this sexy television producer financial salvation or major trouble?

For information and purchase details on this and the stories mentioned below, 


I have never owned a dog. In our childhood home, the only pet was a much-loved ginger cat who thought he ruled his people ('dogs have masters, cats have slaves'). His reincarnation appeared in my contemporary romance Finding Billie as a feisty feline who purrs with most humans but spits at those who are not nice to Billie. My sister and I would have loved to have a dog, but -- "you have a cat, you can't have another animal" and "who would walk it"  and "we don't have room", and other reasons/excuses. We had a temporary enthusiasm for an aquarium, though goldfish can hardly be termed pets; ours led short and probably wretched lives.

As an adult, for various reasons it has not been possible to own a dog. Maybe as unconscious compensation, in several of my contemporary romance novels I have enjoyed including a dog with a part to play in the plot. Researching is one of my favourite aspects of writing fiction, and I spent considerable time on deciding which breed of dog would be appropriate for the character whose lifestyle and/or job needs a canine companion and/or a working dog.

In Sealing the Deal, Anna lives alone on an isolated alpaca stud, and needs a dog as a companion and as a guard animal, and one whose breeding indicates he can get on with other animals and therefore can learn to check the alpacas. I gave her a Great Dane, and named him Hooli short for Hooligan. She
hopes that alongside his normal friendly attitude  he will display some hooligan behaviour if she, her animals or property are threatened. The sheer appearance of a Great Dane can at first be alarming; a visitor describes Hooli as the size of a small pony when the dog won't let him get out of his car until Anna arrives and assures her guardian this visitor is harmless.



Callum in Hot Ticket, now living in the city after a childhood on a cattle station, misses animals. From Animal Rescue he chose a puppy cattle dog because of his breed and that he looked sad. JD (= Juvenile Delinquent because clearly he had never been trained) becomes an important secondary character in the developing romance between Callum and Olivia.

A sheepdog is a necessity in  Dancing the Reel, a story involving sheep farming on two Scottish Hebridean islands. Deefer, as in D for Dog, is the border collie so named by Hamish because after owning many dogs in his long shepherding life he had no more names. This intelligent young dog is undoubtedly the boss of the hundreds of sheep, and off duty is a loyal and caring companion for Hamish.


At the start of my dog research, I discovered there are over 400 breeds worldwide. Intending to check exclusively for the canines who became Hooli, JD and Deefer, I found out far more than I needed to know for the story purposes, and became somewhat sidetracked into a few other breeds. I have a dog in mind for the current work-in-progress...

Happy reading, Priscilla

https://bwlpublishing.ca

https://priscillabrownauthor.com











Tuesday, March 31, 2020

Putting the bits together by Priscilla Brown

 

Struggling with a tricky assignment on an island inhabited only by her employer
and a hundred sheep, journalist Jasmine's almost literal lifeline is the sexy ferry deckhand.
 

This contemporary romance set in the Scottish Hebridean islands is available from
Smashwords until 20 April 2020, at US$1.60 
 
 
 
As well as writing contemporary romantic fiction, my creative interests include working with textiles  (knitting, hand and machine sewing, embroidery, felting). Recently I participated in a workshop creating new cloth by intermingling scraps of any colour, design and texture of fabrics, and adding embellishments such as buttons, ribbons and braids. We worked small on a background fabric of our choice, choosing fragments from a stash we had each brought and from that generously offered by the tutor. We cut and tore, fiddled with shapes and colours and designs, overlapped our pieces or covered a join with a ribbon. When we were satisfied, we carefully removed the bits so we could paste them back. Pasting is not firm enough to last, so we secured our work by embellishing with stitching and embroidery.
 
For me, writing a novel is rather like putting the bits together. These are a few of the "bits" collected in my notebook which eventually found their way into the above story...reversing a car onto a tiny ferry (I had to do this, somewhat daunting especially as it was a rental car, and this became the germ of the story idea)...a smuggler's tunnel (the eighteenth century one I saw was wide enough to roll a barrel through but a smuggler would have to be skinny to use it as a escape route)...an ancient curse (liking the idea of this, I made one up)...a ruined castle...someone dishing the dirt... a shared partiality for fruit and nut chocolate (this came from observing a couple on a train, he feeding her squares of chocolate from the wrapper which I could see).

And then there's the practicalities of building the story. I don't have a complete plot before I start  novel, making much of it up as I go, and I like to check the technological "bits" on the way.
 
Choosing words: is this the most effective word for this situation? Does it convey the appropriate tone and the precise meaning? Is  the spellchecker telling lies about my spelling?

Assembling words into sentences: are the grammar and punctuation correct? Do the words fit with their neighbour words? Does the word order carry an unambiguous message? Any extraneous or repetitious words lurking? Is there a rhythm to the sentence which makes it easy to read?

Combining sentences into paragraphs: sometimes one or only a few sentences are effective in a paragraph, to build tension, or emphasise a plot point, or introduce an important situation. Otherwise, are the sentences relevant to each other, and to the current circumstances? Does the paragraph move the story on?

Placing the paragraphs into chapters:  each needs an attention-grabbing beginning and a cliffhanger ending.

Oh the satisfaction when the "bits" appear to have fitted together, reaching THE END! But of course they haven't all been cooperative. On checking the manuscript, it's likely to find some which don't fit--they may be redundant, at the wrong place in the story, out of character, failing to convey the  overall tone of the writing, simply incorrect...and more. So the revision process begins, manipulating those "bits" until the writing is reader-friendly and the story can be finally wrapped up.  (As I did with the fabric scraps, creating a pretty bangle.)
 

Stay safe, Priscilla
 
 
 
  

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Tuesday, December 31, 2019

Is letter writing redundant? by Priscilla Brown



 
Regretfully, no characters in these contemporary romances write personal letters.
 In future stories, maybe I should make sure they do!



Here, I am considering personal letters, not business or formal communications. In today's time-poor society (or perceived as such)  it's quicker and easier to phone, text, email or message. And there are times and situations where immediacy is essential.But isn't there something anticipatory about receiving a hand-addressed envelope? Open it, find a sheet of paper filled with handwriting - you know the writer has taken the time and effort to think of you.


Checking in my local newsagency I found several differently designed quality writing pads with matching envelopes, and boxed compendiums of attractive paper and envelopes. I asked the manager how the items sold. She told me that while the pads and envelopes on the whole were fairly slow sellers, those pads clearly designed for a child's use do sell, hopefully for the child to write thank you letters, and indicating that parents encourage children to write; others were bought mostly by women. The compendiums are popular especially close to Christmas, she assumes for gifts. And for writing thank you letters!


 So, other than thank you, why write? A few thoughts...


- reminisce on a good time you've had together
- someone you know, or sense, is in trouble, lonely, needs encouragement
- you've lost touch, want to repair a friendship
- forge a friendship with someone you know only casually
- take time to think things through, or apologise, clarifying comments that may be misunderstood in person or on the phone
- introduce a topic of mutual interest, leading to an epistolary conversation

- invite the recipient into the sender's world with descriptions of experiences, feelings, concerns
- recommend with details a book or movie
- with family, share thoughts and information which can be saved for future generations

Further to this, a nearby family is having a house built on previously vacant land. They are writing notes on their current lives to be dated, sealed in non-rusting container, and buried in what will become the garden. The seven-year-old wrote about his school; his four-year-old brother who could write his name dictated to the older child to write about his swimming lessons; for their two-year-old sister, Mr7 wrote her name, age and added kisses. Each parent will write notes to future parents.

Personalised and preferably handwritten letters are social currency with more of a human connection than is possible via technology. I believe such letter writing will not become redundant as long as we acknowledge a fundamental need to keep in touch on a deeper level.

As I cannot write personally to each of you, please imagine that I have handwritten (yes, you can read my writing!) on quality white writing paper using a blue pen, neatly folded into a matching envelope,  a letter bringing all good wishes for 2020. 

May the year be kind to you. And, of course, with lots of wonderful reading. 


Priscilla




Wednesday, July 31, 2019

Revisiting and Revising by Prscilla Brown


From its first incarnation, this contemporary romance was ruthlessly reworked; 
the character on the cover received a new name and personality.

  
I've been involved in a textile arts exhibition showcasing items which the artist has revisited, upcycled, recycled, remodelled, or transformed in some way.  Think jeans cut off above the knee, rebirthed as shorts and decorated with bright fabric, or, with appropriate stitching, reappear
as a bag again embellished.A floral skirt way out of fashion is reconstructed into a shade for a table lamp; several kinds of textiles, fabrics, knitting, crochet, in pieces of carious sizes and colours, are hand-stitched together covering all surfaces of a second-hand wooden dining chair.
 
As I chopped up boring old scarves into sections and reassembled them onto a length of fabric, the new cloth to metamorphose into a wrap, I thought about how I use the rethinking terms for this kind of creativity in my fiction writing.

With all my novels, having reached what I initially consider to be the final draft, I print them out and put them aside for an indefinite time. I do enjoy editing and prefer to edit this "final version" on hard copy.
Write without fear. Edit without mercy. 
(Quotation found on Internet, source unknown.) 

For me, returning to a manuscript always reveals assorted plot holes, inconsistencies, repetitions,
weak characters and other glitches. Class Act (not its original name) remained in the drawer for the
longest period, four or five years. When I revisited it, I was shocked. Is this the best you can do?  Too long. Too much detailed backstory. Too many secondary characters. Extraneous events and trivia. Unbelievable female protagonist (insufficient qualifications and experience for the job she's appointed to). I wrote this while I was working in the same environment as the story is set, and this version now read as if I'd wanted to include several incidents which did happen but which were entirely out of place in the novel.

A major revision was required.

The prologue had to go, all 4000 words of it. Necessary information was salvaged and worked where appropriate into the first and second chapters, which also better defined the personalities of the protagonists. Realising I was making more changes to her than to him and to some of the scenes together, I severely chopped up and altered her backstory, reassembling the pieces into a shorter and more credible version (her one-time Mexican lover was not necessary), and stitching bits into the story where relevant.
 
A number of secondary characters lost their places (she did not need to have a childhood nanny with whom she keeps in touch). I found several scenes which did not move the story along. Some were beyond redemption and permanently discarded (whyever did they go to the zoo?); those I had fun writing and wanted to keep received remodelling so that they did provide forward momentum (adding a thunderstorm while they were eating outside at a restaurant nudged their growing attraction up several notches); others could be reconstructed and their timewise position in the story relocated. These and many other repairs, including a re-vamped ending, in this extensive revision transformed both the energy and the length of Class Act, sending about 30 000 words to the bin.

And now, it's time to take out another manuscript from its incubation in the drawer. I'm wondering how much editing will be required for this one!

Enjoy your reading. Priscilla.

 

 
 

Friday, May 31, 2019

Priscilla Brown  considers carrots and cliffs






Men are off Cristina's essentials list during her working holiday at a luxury Caribbean resort. 
But can the resort's zany charmer of a pilot break through her defences?



Carrots have received many mentions in literature. Grimm wrote a fairytale The Carrot King; Shakespeare mentioned them in several plays; Edward Lear in a limerick rhymed about a purchase of two parrots fed on carrots (the parrots who frequent my garden turned up their beaks at shredded carrot).


Real carrots for me are just another vegetable, arranged on a dinner plate or shredded onto salad, their colour cheering up the conglomeration of all that green stuff. Perhaps, like me, as a child you were told to "eat your vegies". If you did, something nice may come your way; if you threw a tantrum, you were sent to bed early. The old carrot and stick idiom.

Fiction writers use carrots as turn-the-page bait. A character wants something that's out of reach, but if s/he accepts the dangled  "carrot", for example, adjusting behaviour, overcoming a challenge, telling the truth, the desired outcome may be attainable. We want the reader to worry about the character; will s/he get this elusive something, and if not, what will happen? Tension, conflict, suspense.

In One Thousand and One Nights, each night Scheherazade tells the king a story. Leaving it incomplete, she promises to finish it the following night, so that he, keen to hear the endings, abandons his plan to kill her. Carrots save her life.


 Cliffhangers are similar to carrots in that they encourage readers to continue with the story, eager to know what happens next. Writers use a chapter or scene with a dramatic climactic ending to raise the stakes for the characters: a question or situation unresolved, a physical threat or sense of foreboding or urgency, distressing information...scenarios which leave the reader in suspense.


In Where the Heart Is,  the cliffhanger is almost literal. After an evening of sexy dancing, the protagonists are perched on a dangerous cliff top. She badly wants to sleep with him, but won't until he reveals a secret she believes he's holding. He wants to sleep with her but won't because he's afraid of falling in love and she must return to her home country. The chapter ends with just three words from him, words which devastate her.

Enjoy the carrots and cliffs in your reading!  Priscilla






Sunday, March 31, 2019

Priscilla Brown considers picture postcards

 






Will ambitious lawyer Olivia listen to her heart or her head before it's too late?
(She does send picture postcards.)



Find more about Hot Ticket and my other contemporary romances at


Recently I visited the exhibition Carte-o-Mania at the Australian National Portrait Gallery in Canberra. It shows 'cartes-de-visit', pocket-size portrait photographs which were taken and collected in Australia in the second half of the nineteenth century. This concept began in 1860 when Queen Victoria and her family sat for a photographer, and then made the photos available for sale to the public. After this, people also in Australia began to acquire their own photos to hand or send to friends, a kind of 'remember me', and collecting these became popular. Incidentally, around the time Queen Victoria initiated this fashion, picture postcards started to appear in Europe and USA, and collecting them began as a hobby.

This exhibition stirred my interest in today's picture postcards. I love them! When on holiday, I enjoy choosing cards to send, and receiving cards give me pleasure.  I pin these cards onto a corkboard where they stay until the board is so full that they start to fall off, when I remove the oldest one or two that I can part with. Some have been there years, and I still enjoy looking at them. But are picture postcards a dying tradition?  

Sending these postcards does take effort. First, to find them. In a tourist spot, this may not be difficult, though I've found that sometimes it's necessary to unearth them from the back of some shop selling assorted tourist merchandise as if the shop doesn't consider them worthy of better display. If there is adequate amount of choice, I want to match the card to the intended recipient, a picture which may appeal to an interest, for example historical, specifically scenic, mode of transport or related to a hobby.Then time spent at a cafe with a drink of choice is perfect for the writing. I believe a hand-written card brings a human touch to communication, makes the recipient feel important knowing you're thinking of them.

Finding a post office can be a challenge; sometimes it's easier to take the cards home and post there. It Italy, using my elementary Italian, I bought and wrote the cards, got lost on my way to the post office, bought the stamps and posted the cards. Back home, I discovered no one had received them. Did they ever leave Italy? Perhaps in my hurry to catch a ferry, had I dropped them into the litter bin which I recalled was next to the post box on the wharf? Ouch!

I have three friends each living in a different country, who are all travellers and wonderful at sending postcards. Each always tries to find a card which they know I will enjoy; recently I received a card from Brazil depicting a bird called a Pantanal, one from Sarawak (Malaysia) of a baby orang utan, and from France of a dignified chateau. These senders hand-write personalised messages which I appreciate. I do the same for them.

But are we in the minority?

My home is in a part of regional New South Wales which attracts tourists for its history and varied natural environment. The Visitor Centre holds a good selection of postcards depicting local scenes; I asked staff about the sales of these. "Noticeably declining" was the comment. "People aren't much interested anymore."

I took a straw poll of colleagues who travel frequently. "Always send cards to my grandparents who can't travel now and they love getting them"..."Postcards? Do people still send them? Why don't they use their phones?"..."Never sent one, I take videos"..."I like to send to close family and friends and most send to me"..."Couldn't be bothered, would take too long."

I know it's quicker and easier to take phone photos and share straightaway, or use a digital postcard  app. It may be tempting to send several photos of your travel companion or a selfie at for example the Eiffel Tower; if this is the main method of communication, for me it feels uninspired. Rather than any number of phone photos, I would prefer to receive one hand-written postcard with a little local information, indicating that the sender has spent time and thought on it. However, I do understand that not everyone is as comfortable as I am putting experiences into words (nor is addicted to spending time in cafes!) And I admit I am a technophobe. 

Enjoy your reading, Priscilla

Paragraph 1, reference:  National Portrait Gallery, Canberra, Australia












Thursday, January 31, 2019

Crafting conversations




She's lover shopping, and her new boss could never be the goods on her wish list



My contemporary romances include quite a lot of dialogue which I always enjoy creating. Time spent working on a particularly significant exchange between the two main characters usually exceeds that taken when writing the appropriate same number of words for narrative.

An effective conversational exchange can move the story forward, divulge information including relevant elements of the characters' histories, illustrate personality, foreshadow events, generate tensions, and more. I like to think that one of the most important functions of dialogue is to establish communication from the characters to the reader. I want the reader to get to know them, their personalities and speech habits, to feel drawn into their world, to worry about them, love or hate them, laugh or cry with them.

When I've completed the first draft of a conversation, I read it aloud, listening for each character's word choice, sentence length and absence of complete sentences as is of course common in dialogue, tone, style, nuances. Do the speakers sound natural and distinctive from each other? (Or do they sound like me?!)  Is the conversation original?  Is the purpose of this conversation evident, or is it inconsequential chat? (Though sometimes 'chat'  has a place. In Class Act, Gina does talk a lot, and Lee jokes that she has a PhD in chatting.)  I must make clear who is speaking, so the reader doesn't have to pause to check or to re-read. Having fixed glitches obvious when read aloud, my critique partner reads it. Her comments reveal points needing attention which I hadn't spotted. Several drafts later, I'm able to construct a dialogue which satisfies me.

The lead characters in Class Act are experts in zippy repartee. In high school, Lee and Gina bounced banter off each other. Fifteen years later, with no in between contact, they've just started working together where he is the boss, and they're struggling to maintain the barrier between professional and personal. In this extract, Lee is playing saxophone in a jazz concert by the beach.


He unscrewed the wine, poured two glasses and handed one to her. "Only one for me." he said. "I've go to stay halfway sensible or I won't find my notes. You finish it."

 She took a sip."I really like this wine, but I wouldn't be able to walk back." 

"That's why I brought the blanket. The sand's soft, you can sleep on the beach."

"But the tide might come in and drown me, and I have to go to work tomorrow."

"I could tell your boss you've drowned."

"No, I wouldn't  dare not turn up." She shook her head. "You don't know my boss."

"Oh? Is he tall, dark and handsome? Tell me about him."

"He always needs a haircut, and he's fierce. I don't think he does any work because his desk looks like it's just come from the laundry, all clean, shiny and ironed. He just uses his office as a place to play the saxophone. I do all the work."

"What a lazy wretch. You should take your case to the fair work organisation."

"I already did. They said to have patience, because he's heading for an international career as a saxophonist, and then I can have his job."

He didn't respond. Had he taken seriously her last few words, that she wanted his job? She did, but not for a year or two. She glanced at him. Nah, no way was he thinking about work. His jewel eyes glowed. Their silver lights sparked, sending her a message in flashing neon. Trouble. Lee Wylde was going to be big big trouble tonight. Trouble she didn't know if she could handle. Or wanted to.

"Amazing how we still do it," he said softly.

"Do?" She wrenched her glance from the begging-to-be-touched wisps of black hair curling around the edges of his open shirtfront.

"Carry on like that. Like when were were at school."

Now I'm off to a cafe to do some secret eavesdropping, perhaps to add to my notes on conversations. 

Happy reading, Priscilla.





P.S. I have no monkeys in any of my stories. I couldn't resist adding these two having a serious discussion.


 

Wednesday, October 31, 2018

Priscilla Brown travels by train



 
Gina - lover shopping
Cassandra - out of job and fiance




 None of these ladies travels by train! 





Olivia - love or her career?








sports car, ancient Beetle, motorbike - guess which belongs to which lady?
 (answers at the end!)





Public transport is a rich source of ideas and material for writers; as an author of contemporary romantic fiction,when travelling I always have my notebook handy. I observe people - general appearance, size, age, clothing, body language, and when possible over the train noise, eavesdrop on their conversations. Today I'm on a two-hour train journey, wondering about passengers' reasons for travelling on this particular train at this time on this day.

Some other place

 She's running down the station steps needing to catch the about-to-depart train, her cream coat flapping open over an aquamarine shirt and tight short black skirt and black pantyhose; she knows the smart effect of this ensemble is diminished by her purple running shoes, but then how could she race down these concrete steps in her usual skyscraper footwear? She has this along with her laptop in the cross-body large square bag bouncing against one hip. In one hand she clutches a coffee and a brown paper bag, and in the other a phone which she glances at too frequently for safety while descending at speed.

The station attendant is waving his departure flag as she squeezes between the about-to-close doors. Dropping onto one of the few vacant seats, she opens the paper bag to reveal a brown-bread sandwich from which a shred of orange peel almost falls out. Regarding this with distaste, she screws it all up and stuffs it into her bag. No breakfast again! She got to bed at midnight after singing at the local bar's open mic session, and had trouble getting up this morning. Then Tom spent ages in the bathroom, and for why? He's working afternoon shift and has no hurry. They were out of milk- again! - and cereal, and she hopes he'll remember to go shopping. While she put her face on, he made her a sandwich but the only thing he could think of - or find - was marmalade. Whoever heard of marmalade sandwiches? He could have taken her to the station if their car hadn't been involved in a minor prang (whose fault?) and was being patched up.

She sips her coffee. Ugh! They put sugar in although she specifically said no sugar. Undrinkable, but what does one do with an un-drunk coffee on a crowded train? And she could have saved several minutes by not waiting for this potion made from last week's dregs. She gulps it down, puts her hand over her mouth, and checks the phone. Yes, the meeting she dreads but hopes might be cancelled is still scheduled for ten-thirty, and so lucky she caught this train as she dare not be late. The draft of a major project she's just completed will be workshopped at this meeting, and if they don't approve then her job could be on the line. She touches the aquamarine ring on her right hand which her grandmother gave her as a lucky talisman.

Taking from her bag her dagger-heeled black business shoes, she examines the heel of one. She noticed yesterday it's not quite straight but she didn't have time to take it to be mended. Going into the meeting wearing running shoes when Snake-in-a-Suit big boss will be watching for any lowering of standards is not an option, but she'll wait until inside the building before changing into her now wobbly shoes.

The airport is only a few stops away. An idea flits around her mind...she could get off there, and buy a ticket to some place where she could sleep in, would not have to wait for the bathroom, own an undriveable car, dash for trains or attend challenging meetings, and can go barefoot. She'd enjoy a decent breakfast, drinkable coffee and later, edible sandwiches.

Most importantly, she'd be talent-spotted singing in a bar.


Women talk too much

Sitting by the window is a man reading a newspaper. He's a senior, tidily dressed in brown cord trousers and beige sweater. His wife nags him to wear more colourful clothes, but he hates clothes shopping and what he has on today is quite adequate for a lunch with an old workmate. Even more that shopping, he hates his current hairstyle, though style is not word he can apply to what happened to his hair. He used to have a respectable amount of hair for his age, until his teenage grandson issued him with a dare. This obliged him to get a black stripe centred from front to back, with the grey sides cropped to within a millimetre of their existence. Apparently such an arrangement has some peculiar name, and he berates himself for being stupid enough to agree to it after a few beers at the boy's eighteenth birthday party.

He taps the newspaper with a blunt-tipped clean-nailed finger. Irritated by a political article, he locates a red pen from his small backpack and edits the piece. Not satisfied with this, he takes out his phone, locates the editor's email address, punches in a sharp message and sends. That will teach them to print nonsense. He turns to the crosswords. Today's compiler always makes the cryptic one even more cryptic than on other days. He likes to work on this, as success with more than half the clues reassures him that his brain is in full working order. Last week he completed this compiler's entire crossword, but he was doing it at home when his wife was out, so no talking and he could concentrate.

This morning he can't concentrate. Two women in the seat across the aisle are chatting. Don't they know this is a silent carriage? He leans across to them. No talking. This is a silent carriage. He points to a notice on the door; although this is half the length of the carriage away from where they are sitting, people should notice it as they enter. See that? Now be quiet. One of the women smiles at him. How dare she smile? She's not taking this seriously. Sorry, we didn't know. He scowls. Now you do. She smiles again. Yes, now enjoy your newspaper. He doesn't know if the means this sincerely or if she's being cheeky.




He tries again with the crossword, but the women with their inconsiderate behaviour have wrecked his attention span and it's too difficult. He stares out of the window at the grey industrial sites bordering the railway as the train approaches the city. He's relieved he can look forward to a lunch in a restaurant by the harbour with this friend who doesn't 'chat'. As they always do on their monthly get-together, they will exchange pleasantries, criticise the government, comment on the weather, and enjoy fish and chips with a bottle of chilled white wine.

He hopes there will be no talkative women at the next table.


Don't lose my luggage

Struggling aboard the train is a woman with an enormous wheeled suitcase going to the airport. She's flying to North America or Europe where - now spring in Australia - winter is closing in. On her shoulder she carries a large cabin bag in which she packed a change of clothes - she doesn't trust airlines to route her luggage correctly since last year her bag from Amsterdam had a much longer trip to Sydney than she did, via Vancouver and Honolulu, while hers was a one stop journey via Asia. This bag also contains an e-reader loaded with Books We Love novels, and a plastic bag holding those items security would like to take off you.

She's satisfied with her choice of travelling clothes for her long-haul flight, navy matching jacket and trousers with a scarlet T-shirt, but already doubtful about these new red shoes with their dizzying
heels.  She worries that if she takes them off during the flight her feet will swell and she won't be able to get them on again. She eyes the feet of the young woman sitting opposite her, thinking those running shoes would have been a better option; perhaps she can buy something similar at the airport.

The train pulls in at the first airport station, the International Terminal. She checks the indicator on the train's information panel - oh, not her stop, hers is the next one for the Domestic Terminal. She's going to a wedding on a Queensland island and her wheelie bag contains a wedding present of a patchwork quilt she's stitched herself.  She's feeling a bit apprehensive because her ex will be there. Since they broke up a year ago, they keep in email contact, and lately she's picking up vibes that he's interested in reconciling. Her own reconciliation vibes are screaming for action. They both like red, and among clothes appropriate for a sophisticated tropical resort she packed a scarlet and black silk off-the-shoulder dress that she will wear with the shoes she has on now, and - in the cabin bag - delicious brand-new blush-red nightwear...

Go girl!



Happy reading, Priscilla




sports car: Olivia    Beetle:Cassandra    motorbike: Gina

 

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