§ 00Typed in Dactylo

Sample pages.

Short pieces written for this site and typed on the machine: each one shows a different paper, ink or way of writing. Every page can be downloaded as the PDF Dactylo exports.

THE LIGHTHOUSE LEDGER The ledger came back to the island in a supermarket bag, forty-one years after the last keeper left. Ruth found it on the bench outside the post office, with a note pinned to the cover: This belongs to the light. She knew the handwriting inside at once. Her grandfather had kept the Saltwick light for twenty-two winters, and he wrote the way he walked, leaning a little into the wind. Every night had its line: the time the lamp was lit, the weather, the ships he saw pass. 6 Nov. Lit 16.40. Wind NW, rising. Collier northbound, low in the water. All well. All well, all well, all well. Page after page of it, until she wondered how a man could live so long on the edge of the sea and find so little to say about it. Then, near the end, the entries changed. 12 Jan. Lit 16.55. Fog. A light answered mine from the north rock, where there is no light. 13 Jan. Lit 16.56. It answered again. Three long, one short. Ruth turned the page. The next line was not in her grandfather's hand. The letters were small and upright, pressed hard into the paper, as if whoever wrote them had never held a pen before. 14 Jan. Lit. We are coming in. She closed the book and looked out across the harbour, where the tower stood dark against a white afternoon. It had not been lit since 1985. That night, at eleven minutes to five, it was.

The Lighthouse Ledger

Short story · opening

Flat 2, 18 Alder Street Tuesday evening Dear Tenant of Flat 3, We have not met, though I feel I know your left hand very well. I am writing about the piano. I want to be fair. You play beautifully, and mostly at reasonable hours. But on Sunday you began the same eight bars at a quarter past six in the morning and stopped them, unfinished, eleven times before breakfast. I counted. I could not help it. By the seventh time I was holding my breath at the turn in the fourth bar, the one where you always hesitate, and by the ninth I was willing you across it. You never did get across it. I had meant this letter to ask whether you might begin a little later at weekends. I see now that it has become something else. I would like to know how the piece ends. I have been humming the first eight bars in the shower, on the bus and, once, at a funeral, which I do not recommend. If you would rather keep the ending to yourself, I understand. Some things are better unfinished. But if you would like an audience for the ninth bar, I make a very good pot of tea, and I am home most evenings after six. With warm regards and a slightly tired ear, Margaret Ellison Flat 2 P.S. Saturday afternoons are perfect.

Letter to the Tenant Upstairs

Letter

NIGHT TRAIN, 22 JUNE 23.10 Left on time, which surprised everyone in the corridor. The conductor has a moustache like a coat brush and calls every passenger "sir", including the six-year-old in the next compartment, who loves it. 23.48 The berth is exactly as long as I am, if I do not think about it. Somewhere under the floor a wheel knocks twice at every joint in the rail, and the whole carriage leans into the bends as if it were listening for something. 00.30 Couldn't sleep. Went to the dining car, which was closed, and stood at the window instead. Villages go by with a single light on, always one, as if each of them had appointed somebody to stay awake. 01.15 A woman in the corridor was reading a paperback with the cover torn off. I asked what it was. She said she didn't know; that was why she was enjoying it. 02.40 We stopped for twenty minutes at a station with no name on the platform. Nobody got on. Nobody got off. A cat walked the full length of the train, inspected us, and went home. 04.05 First grey light over flat country. Cows standing very still in the mist, all facing the same way, like a congregation. 05.30 Coffee. The conductor brought it himself and said, "Nearly there, sir," to me and to the six-year-old, who saluted. I think I will remember this night longer than the city at the end of it.

Notes from the Night Train

Travel journal

A KITCHEN AT SIX The kettle knows before I do that the day has started, clearing its throat on the stove like a small brass bishop. Outside, the street is still deciding what colour it is. The cat has decided: the colour of the warm chair. Upstairs, the house is breathing in three different rhythms, none of them in time, all of them mine. I butter the toast slowly, the way you hold a door for someone you can hear but cannot see yet.

A Kitchen at Six

Poem

FADE IN: INT. 24-HOUR LAUNDROMAT - NIGHT Fluorescent hum. Eleven dryers. Ten of them wear handwritten signs: OUT OF ORDER. SORRY. REALLY. JONAH (30s, raincoat, one sock in his hand like evidence) stands before the eleventh. It turns slowly. Inside: a wedding dress, tumbling, white against the glass. He looks around. Nobody. He looks back at the dress. JONAH (to the dryer) You're kidding me. The door CHIMES. ADA (40s, bicycle helmet still on) hurries in, sees Jonah, sees the dryer, stops. ADA Don't. JONAH I haven't done anything. ADA You were going to open it. JONAH

INT. LAUNDROMAT — NIGHT

Screenplay page

ON WRITING SLOWLY When I was nineteen I wrote my first story on a borrowed typewriter, and it took me three weeks to finish four pages. I remember being ashamed of how slow it was. I remember, too, that I have never written anything quicker that I liked as much. A typewriter does three things that a computer politely refuses to do. First, it makes a sound. Every letter costs a small physical effort and answers back. After a while the rhythm becomes a kind of thinking: you hear a sentence going wrong before you see it. Second, it keeps going forward. There is no cut, no paste, no moving the third paragraph above the first while the first is still half-written. The only way out of a bad sentence is through it, into the next one. Drafts written this way are messier, and much more alive. Third, it ends the line for you. The bell rings, and you have seven letters to decide. It is a tiny deadline, a hundred times a page, and it is wonderful for hesitation, which cannot survive it. None of this is nostalgia. I don't miss carbon paper, or correction fluid, or retyping a whole page because of one word on line forty. What I miss is the friction, the feeling that the page was a place I had to walk across instead of a surface I could slide things around on. So write the first draft slowly. Hear it. Keep going. Fix it later, in the quiet, with every tool you like. The machine will wait for you. That is what it is for.

On Writing Slowly

Essay

1 Three Minutes Everyone in Harrowgate knew that the clocks were three minutes slow, and everyone had agreed, long before Nell was born, not to mention it. The church clock was slow. The station clock was slow, and so the trains, which ran on time everywhere else in the county, arrived in Harrowgate three minutes early and waited, sighing, while the passengers hurried along the platform apologising. The clock above the baker's door was slow, and the little brass clock on the mantelpiece of every house in Tanner's Row, and the watch on the mayor's waistcoat, which he consulted forty times a day and believed to be the finest timepiece in England. They were slow because Nell's father had made them, and Nell's father did not make mistakes. She had asked him about it once, when she was six and still believed that every question had an answer. He had been bent over his bench with the loupe in his eye, the way she always pictured him, a tiny wheel held in the tweezers like a seed. "Three minutes," he had said, without looking up, "is exactly enough." "Enough for what?" He had set the wheel in its place, closed the case, and wound the clock until it began to tick. Then he had looked at her for a long moment, as if deciding how much a six-year-old could carry. "Enough to get away," he said. She was twelve now. She had not stopped asking.

The Clockmaker's Daughter

Novel · chapter one

Morning pages. Tuesday. Rain agian again, which the cat considers a personal insult. Rules for this week: three pages before coffee, no going back, no reading what I wrote yesterday. Draft Mode on. If I make a mistake I strike it outou out and keep moving. It looks terrible. It feels wonderful. Things on my mind, in no order. The chapter with the fire flood in it, which is still a fire in my head. Mum's birthday on Friday (card, not flowers, she says flowers make her feel like an invalid). Whether the woman in chapter four is lying or to the reader or only to herself. Tomatoes. I keep wanting to fix the sentence above. I am not going to fix the sentence above. What I actually want to write today: the scene where they find the boat. I have been circling it for a week because because I know it is the heart of the book and I am afraid of getting it wrong. Getting it wrong is what drafts are for. Write it badly today. Write it well in March. Rain heavier now. The gutter is making a sound like applause someone pouring tea from a great height. Page two. I notice that when I can't delete anything I stop trying to sound clever. The words come out plainer and true truer. Maybe that is the whole trick: not to make writing easier, but to make eras erasing harder. Coffee soon. One more page.

Morning Pages, Tuesday

Journal · Draft Mode