Читать книгу You Let Me In - Lucy Clarke - Страница 11

‘If you’re going to throw a ticking bomb into the story, light the fuse at the beginning, and let us hear it tick.’

Author Elle Fielding

In the charcoal-coated dark of three a.m., I am awake. The cut to my heel throbs; my pulse seems to tick there.

Over the years I’ve tried a wealth of tips and tricks to soften insomnia’s grip: a soak in a lavender-scented bath; listening to an audio book; blackout blinds; a warm, milky drink before bed; that sodding meditation app that I’d thought was the key but eventually stopped working, too; no screen time; no sugar after dinner; sleeping pills; homeopathic remedies; acupuncture. Everything. I’ve tried everything.

People don’t understand that it’s not falling asleep that’s the problem. It’s staying asleep.

If only there was just a switch for my mind, some way of turning it off, or at least turning down the volume; instead, as the night draws deeper, worries begin to stir, stretch, wake. Harmless, innocuous happenings take on a different shape – the shadows they cast, stretching.

The chef I used to work with when I was waitressing in a pub called them the heebie-jeebies.

‘Don’t trust any thoughts you have between two a.m. and five a.m. It’s like listening to your drunk self.’

Reminding myself of this advice doesn’t settle me tonight. I inhale and exhale slowly, following the path of my breath.

But I can still feel it: the ice-sharp point of that shard of glass as it pierced my skin.

*

I lean against the kitchen counter, listening to the low gurgle of the coffee machine as the water begins to heat. What would I do without coffee? I finally stumbled into a deep, dreamless sleep at around five a.m., but now I feel thick-headed, disjointed.

Beyond the window, mellow white clouds blanket the sky, thin swatches of blue glimpsed beyond. A kayaker is powering across the bay, the paddle lifting and dipping with pleasing fluidity.

On the shoreline there’s a lone birdwatcher, collar pulled to their chin. They are standing with their head tilted back, binoculars raised towards the cliff. There’s a stillness about them that I admire – lovely to be so enraptured by bird life that you’d want to dedicate hours of your day to simply observing it.

I follow the direction of the birdwatcher’s gaze to see if I can locate what they’ve spotted.

As I follow the angle of their binoculars, unease trickles down my spine. Their gaze isn’t focused on the cliff. It is set higher.

They are watching my house.

A memory, match-bright, flashes through my thoughts: his slow smile; the dark, knowing eyes that followed me, hawk-like with exacting focus; the pleasure in his voice as he said my name.

I extinguish the memory with a blink, yet feel the shiver it leaves behind.

Course they’re not watching the house, I tell myself. The binoculars must be trained on a bird; sand martins nest nearby, and there are rare but occasional sightings of a pair of peregrine falcons.

The stranger’s hair is covered by a hat pulled low to their ears, but something about the way they stand, the straightness of their posture, a narrowness of shoulders, makes me wonder if it’s a woman.

The stranger seems to become aware of me at the window, as they lower their binoculars and, just for a moment, our eyes meet. There is a beat of time – no more than a matter of seconds – when we are looking at one another. Then the stranger turns, moves on.

Sliding my mobile towards me, I see my editor’s name flashing.

I adjust my face into a smile. ‘Jane. Hi.’

We exchange niceties about my writing retreat and Jane’s visit to the Frankfurt Book Fair, and then Jane takes a breath, signalling the inevitable slide from small talk to business.

‘So, I just wanted to touch base and check we’re on track for next month’s deadline.’

My shoulders stiffen. The book is already months overdue. I’ve cited house renovations and marriage difficulties – and in fairness to Jane, she has been understanding, extending the deadline twice. Her patience, however, is starting to thin – and I can’t blame her. A final deadline has been set for the tenth of December and, if the new novel isn’t handed in, I’ll be in breach of contract.

During the writing retreat, I’d made time to think about the novel I am writing – or more accurately, am not writing. I’ve been switching between ideas for months, with so many false starts that I’ve lost my confidence, my instincts. The ideas aren’t big enough, aren’t exciting enough to carry a reader through. If I’m not inspired or excited by a story – why should readers be?

Second novel syndrome, David, one of the other tutors on the creative writing retreat, had called it.

‘If you have a big success on your hands,’ he’d said, while spreading sun-warmed brie onto a cracker, ‘then it’s like all those generous words of praise from reviewers and readers are stacked up in front of you. Your debut was an international bestseller – it scooped every bloody award going. Readers are desperate for whatever’s coming next. It’s hardly surprising that every time you attempt to write, the expectation towers over the page. You’re writing in a book shadow.’

Book shadow, I’d thought afterwards as I’d lain in the cool of my room, red wine making my head swirl, the shutters thrown open so I could catch the sound of birdsong beyond the window.

‘It’s coming on well,’ I say to Jane now, the tightness between my shoulder blades spreading down my spine.

‘We’re all so excited to read it,’ Jane says brightly. ‘Would you be happy to send across what you’ve written so I can start to get the flavour of it? I’m eager to brief the designers for our cover development.’

I picture the plain black notebook, a tangle of words jostled into paragraphs, sentences scribbled out, entire pages slashed with a single pencil line.

‘Actually, I’m in the middle of revising a plot thread. If you don’t mind, let’s stick to the tenth of December.’

Jane accepts – what else can she say? We talk a little about an upcoming interview my publicist is in the process of securing with Red magazine, the date yet to be confirmed. Before Jane signs off, she says, ‘I’m looking forward to your Facebook Live debut shortly.’

I glance at my watch. Just under an hour to go.

Before I left for France, Jane talked me into doing a series of live videos, telling me it would be a good way to connect with readers and build up pre-publication buzz.

When I said I had no idea what I’d talk about, she sounded genuinely surprised.

‘Elle, you’re a confident, eloquent young woman. You’ll be fine. Readers just want to know more about you – where your ideas come from, how you write. That sort of thing. Keep it informal – maybe start each week with a writing tip, you know, like “Things I’ve learned as an author”. Then answer any questions.’

I couldn’t think of a good enough reason to say no.

Now she says to me, ‘We’ve been pushing it across our social media channels, so we’re hoping you’ll have several thousand people tuning in live. We’ll all be cheering you on at the office.’

All those people watching me. Asking me questions. Live. No room for mistakes. No possibility to edit. Nowhere to hide. Just me – Elle Fielding, author – in my writing room.

I put down the phone, aware that I’m sweating.

The air cools as I climb the stairs to the top of the house.

I kept my writing room locked during the rental; I needed somewhere to store my valuables – but also, I didn’t like the idea of a stranger sitting at my desk. Odd of me, I know.

I slip the key from my pocket and spend a moment fighting the lock, turning it back and forth until I hear the bolt release. I push the door wide open.

Light fills the space, the shimmering scales of the sea pouring through the glass wall, streaming over the stripped wooden floorboards and across white walls. When I’d designed this room, I’d wanted to create a space where my imagination could travel beyond a desk, beyond a computer screen, beyond the walls of the house – for it to sail off towards the endless promise of the horizon.

I’ve kept everything purposefully pared back and unadorned. The only pieces of furniture are an aged oak desk, a simple bookshelf constructed from reclaimed scaffold planks, which display a collection of my favourite novels, and a ceramic oil burner. In the far corner of the room, there’s a wingback chair turned to the view, and beside it an oak trunk that houses notebooks, photographs and diaries.

I cross the room, surprised to notice the fresh scent of salt in the air. I thought it would be stuffy up here after keeping the room locked for a fortnight.

Then I see it: the small window at the edge of the glass wall is open. I’m surprised – I always double-check the doors and windows. I must have somehow overlooked it. I know no one could have accessed the room during the Airbnb as I left it locked and took the only key with me.

I let the thought go as I settle myself at my desk. I love this desk. I came across it at Kempton Market four years ago. At the time, Flynn and I were living in a rented flat in Bristol, and I’d just begun working on my first novel – carving out slices of time to write in lunch breaks, or after I returned from a shift. I kept my ambition secret – except from Flynn – as somehow the dream felt too new, too fragile to be spoken about, as if a misplaced remark could have the power to damage it. As we’d left Kempton Market, I’d told Flynn, ‘If I ever get a book deal, the first thing I’m going to do is buy a writing desk.’

Unbeknown to me, Flynn called the seller and arranged for the old desk to be delivered to his mother’s garage. On the weekends when he visited his mother, he spent hours restoring the desk, treating it for woodworm, sanding it right back, working into the grooves of the ornate legs, removing the layers of varnish that had been reapplied over the years. He’d changed the handles, waxed the runners, and sealed the cracks.

A year later, when my novel was finally finished, I printed out six copies ready to send to prospective literary agents. That’s when Flynn took me to see the desk.

‘I was going to wait till you got your first publishing contract,’ he said, as we’d stood in his mother’s garage, the smell of turpentine spiking the air, ‘but I think this day is more important. You finished your book, Elle. Whether this one’s published, or whether it’s the next one, or the one after that – you’re a writer now.’

The timer on my phone beeps.

One minute to go.

My stomach turns over with nerves. Several thousand people tuning in live.

I sit up straighter, pull my shoulders back. I know what I need to do. What everyone is expecting from me.

I reset my focus, drawing my gaze to my laptop. My own face glares back at me on screen using the laptop’s camera. Perhaps it’s just the tilt of the screen, or the way the light pours into the room, but for a moment, I don’t recognise myself.

I reach for the mouse, hovering it over the GO LIVE button.

I click.

My smile stretches across my face. I can hear it in my voice as I say, ‘Hello, everyone. I’m Elle Fielding, and I’m live today from my writing room here in Cornwall. Thanks so much for joining me. For those of you who don’t know me, I’m the author of Wild Fear, a psychological thriller that was published last year.

‘Over the coming weeks I’m planning on chatting about my writing journey, sharing tips of what I’ve learned so far, and answering any of your questions.

‘Right, I suppose a good place to start would be with today’s writing tip. It’s something simple that we can all do: get a notebook. Keep it with you at all times. Our short-term memory retains information for three minutes, so unless it’s written down, ideas can be lost. This is my current one,’ I say, holding up a plain black notebook. ‘I keep it in my handbag, or by my bed at night, or anywhere I go. It reminds me that I’m always a writer, wherever I am, whatever I’m doing.’

I’m careful not to open it.

Not to show what is inside.

I take a breath. ‘Okay, so now it’s over to you and your questions.’ I peer at the left-hand side of the screen, where viewers are typing them in real-time. ‘I’ll do my best to answer as many as I can. The first one is from Cheryl Down. She asks, Your debut novel was an international bestseller. Does that put pressure on you for your second novel?’

I’m aware that Jane and her team will be watching. ‘Yes, there is some pressure – but, the good thing is that I began my second novel before Wild Fear was released, so I didn’t have any expectation at that point. I must admit, I’m a little behind in delivering – there was a house move and a big book tour – but things are finally settling, so I’m planning on getting my head down now.’

Tick.

‘Next up, Adam Grant asks, What did you do before you became an author?’ I smile. ‘What didn’t I do? I waited tables, served coffees, worked on a reception desk, manned a nightclub cloakroom, cleaned offices. I travelled as much as I could afford. I lived in New Zealand for a while, and later, Canada. I pretty much spent my twenties bouncing from one thing to the next trying to work out what I wanted to do.’

Who I wanted to be.

‘And then I found it: writing. It just clicked. I felt stupid for not recognising it earlier. The moment I started to write, I fell in love with it. I didn’t know if I was any good at it, or whether I could ever make my living from it. All I knew was that I loved it.’

That is the truth.

I answer half a dozen more questions, then take a sip of water and glance at the clock.

‘Time for just two more questions today. Amy Werden asks, Do you have any writing rituals? PS You have the perfect life!’

‘Perfect life? I’m obviously using too many filters! With regards to writing rituals, something that is important to me is writing down my early ideas by hand. There is something about the germ of an idea, when it feels too precious, too delicate to be tapped into a computer screen and locked there. I like the curve of words on the page, a lack of uniformity, the scratch of a pencil on cream paper. The ideas can flow and find their rhythm.’

If Fiona is watching this, she’ll be rolling her eyes.

‘The final question is from Booklover101.’ I immediately recognise the username. The accompanying profile picture is of a bike, its wicker basket filled with books. Booklover101 has followed me from the very beginning, commenting on almost every post I write. She tweets me, sends me direct messages, has sent me handwritten cards via my publishers.

‘As your no.1 fan,’ I read now, ‘I’m interested to know, does an author need to have a dark mind to write dark books?’

I should have skipped it – chosen a different question.

I keep my face set in a smile.

‘What you need,’ I say slowly, giving myself a moment to think, to get it right, ‘is an enquiring mind. To be able to look at any situation and see the possibility for shadows. To always ask, What if?’

I leave it there. I thank everyone again for tuning in and remind them that I’ll be live again next week.

My face disappears from the screen.

I sit for a moment, taking several deep, slow breaths. Almost pitch-perfect, I think. Jane will be pleased.

Then I push to my feet, moving away from the desk, and I open the window wider. Hooking a finger under the neckline of my top, I shake it to let air circulate to my flushed skin.

I stand there, gaze mapping the waves, waiting for my heartbeat to settle.