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One of the things about futuristic stories is that so many of them are written in the hope that the real future won’t pan out that way! Here’s another BHD micro-peek into the gloom….

Trading Nations

Clearing out the redundant barn he came across a pile of hardboard placards nailed to old fence-posts, netted with cobwebs, padded with mats of dead leaves blown in from the yard. They dated from a time when his father had been young and radical, and had campaigned against air-miles. ‘Support Your Local Farms’ they said in carefully stencilled black letters which had not faded in the cool dry gloom of the old building.

He gathered them up and carried them awkwardly out to where the old man was using the front-loader to push mounds of rubbish and junk into the heart of a huge bonfire.

I guess we won’t be needing these again, he said.

His father, up there in the cab, couldn’t have heard, what with the roaring of the fire and the crackling of the burning timber, but he grimaced momentarily, recognising what his son was throwing to the flames. Old tyres that really should have been taken to the tip were sending up tornados of thick black smoke and orange sparks were flying out and dying against the pale concrete of the yard.

They had just signed over the farm to a company that would take their whole milk production for sale solely overseas, and which had already contracted both the neighbouring farms.  It was a once in a life-time chance, and would make the family secure for a generation.


Now we have Brindley Hallam Dennis’s story published in Lit Sphere:

Here’s a link to the second and third place winning stories in the Strands International Flash Fiction competition, Spring 2019:

BHD’s winning story posted tomorrow (21st April, coincidentally!)

BHD’s little story, Ex ended up on the shortlist in the Strands International Flash Fiction Competition: a six horse finish, with three prizes! At 499 words, excluding the title, it only just squeezes into the competition’s max word count.

I wrote it as a sample piece while teaching a Ghost Story course for Darren Harper’s Phil & Lit Society in Carlisle (England, just). It wasn’t a course I expected to teach, and wouldn’t have thought of doing, but when I looked into the back catalogue I did find I had written several in the genre, some of which had been published.

There was a rub. All of them had turned, irretrievably, and seemingly of their own accords, into comic pieces. Liars League took two: First Foot, which was rather Gothly dark, but not Grand Guignol by any means, and The Hotel Entrance, the heavy emphasis to underline the joke on the last syllable. That title came out of the weak joke, that on the basis of signage, Hotel Entrance is the most popular hotel name in the country! Insubstantiality (with a long sub-title), is just plain silly, and all three pop-up, or materialise perhaps, in the 2016 collection, Other Stories & Rosie Wreay.

A comic ghost story, though, isn’t to my mind, really a ghost story. It’s a comic story. So I thought I ought to have a go at one that didn’t go the way of the others. I’d been reading Kipling (as you may have gathered from recent posts on this blog), and one story that I particularly liked was ‘They’. The speech marks are his. Whether or not it had any influence I’ll leave others to decide, but one of the elements about that story which I rather liked, was the ghostliness of the children, and in particular, the way that they haunted, rather than actually appeared in the story. There was also something about the back-story. It too was ghostly, and even more so than the children. So much so, that I’ve devoted a couple of thousand words to it elsewhere.

Another Ghost story that I’d been reading, and in fact read to the workshop group, was Matt Plass’s Next to Godliness, which appeared in The Fiction Desk New Ghost Stories II. If you get the chance to read it, do! I’ll not do a spoiler here, but it carries a surprise, and builds to a powerfully poignant ending on the back of it. I’ve written about that story too, in The Silent Life Within.

In my little ghost story, Ex, the intention was to get some of that Kiplingesque ghostliness into it: to make what is never explicitly stated the core of the story, with only two or three words to hint at the back-story, the hints, if taken, giving the explanation to what is actually going on. Of course, authorial intent, as I’ve often pointed out, has only a tenuous connection to the actual reading of a piece.

Curiously, perhaps, it seems that the stories of mine that get anywhere, are often the ones that have been written to find out if I can do something specific in the writing, rather than the ones that are centred on actually trying to say something….which might seem to undermine my generally held belief that what readers are interested in is what stories are about, rather than how they are written. (of course, competitions are usually judged by writers, rather than readers….)

Oh, btw, Ex won the first prize and will be published by Strands in the not-too-distant future.

Well, here’s another BHD story, popping up on the web:

And others here…

The cover picture for this collection of 49 short stories, flash fictions and monologues was the last photograph I took with my Olympus digital camera. It was taken on Lindisfarne, and after I’d taken it I put the camera in the pocket of my waterproof jacket, because, as you can see from the picture, it was threatening rain. The rain came, heavily, and the jacket was waterproof! So was the pocket.

But the zipper wasn’t and let the rain in. When I came to retrieve camera it was sitting in about an inch of cold water. So much for my Olympus; but at least the SD card came out with the pictures intact, and I thought this one might resonate with the story Haven, one of the flash fictions inside. It might even have nudged (rather than inspired) me towards the story.

The title story, full title, Eight Frames for Rosie Wreay, is one of those compilation stories, in this case of eight parts, which unwind in reverse order the life of the eponymous heroine. There are also two sets of ten flash fictions, grouped as Final Accounts, and Men. Readers of the blog might have picked up on the fact that I don’t view the ‘flash fiction’ as a particular type of story, but rather a story that just happens to fit into whatever word count has been decided on. These flashes, I think, all worked within a 500 word limit! Two of them marked a change point for me, in the way I tackled stories, though it might not show from a reader’s perspective!

Ten longer stories follow, comic ghosts stories, stories of isolation and reconciliation: stories I’m passing on rather than inventing, but many years after they came to me.

The collection also includes a half dozen Kowalski stories, but these, not in the old grump’s own voice, but those of his exasperated spouse, Mildred. Completing the collection are three separate tales under the heading, Anomalies, because I don’t know where else to put ’em!

OS&RW was published in 2016, the third in an ongoing series of collected short stories.

49 stories,flash fictions and monologues by BHD


Here’s a thing…I didn’t realise this was going to pop up…but Reflex Fiction have kindly published BHD’s short story (call it a flash fiction if you will), Caught In Timehere

BHD recently had a story accepted for an online magazine. They’ve taken a few of his over the last couple of years (.Cent was the magazine by the way, and when you go looking for it, remember that prefatory .!) This one, just before submission, was given a last-minute trim, or rather, a last minute change. It was only one word, but it was close to the last word, and it was changed from ‘said’ to ‘thought’.

The line, in its final version, went: ‘Me too, I thought’. The actual ending continues ‘and I knew the game was on again.’

The difference is profound.

The story is a first person reminiscence of a conversation, about literature, and sex. That conclusive line, a spoken line in the original version, a thought one in the published, is supposed to reveal something about the narrator that has not been revealed in the rest of the story. In fact, the story is the context for that revelation. But if spoken it is revealed not only to the reader, but to the other character in the conversation. By making it a thought the reader is invited to speculate about whether or not that other character has an inkling of the thought, and if they do, what is their reaction to it.

Other options have subsequently occurred to me. What, for example, might be the difference if the story ended: ‘Me too, I might have said.’

The key is in that ‘might’. Does it imply that ‘Me too’ wasn’t said, but could have been – which implies also that it was still thought. And what if it had ended, ‘Me too, I may have said.’? Doesn’t that add the further possibility that it had been said, but that the narrator has become vague in his admission, perhaps reluctant even?

Four options, and I’m still not sure which would be the best one, but the fact that there are four – and probably more – reminds me how important every single word is, and perhaps more so the closer it is to the end! It reminds me too, that the nuances of writing are dependant for their success not only on the finesse of the writer, but also on the discrimination of the reader.

You can read more BHD stories in Other Stories and Rosie Wreay.

49 stories,flash fictions and monologues by BHD

BHD has a couple of Flash Fictions in #5 of the Black Market re-View. You can access it here

Here’s another BHD story in that rather cool digital mag .Cent

49 stories,flash fictions and monologues by BHD