All the work developing the character of Adrian turned out to be worthwhile, although I did at times think we were taking a sledgehammer to crack a nut, given that this was to be a very short story. Once I started writing Ade in the story, I felt as though I really knew him and could have a conversation with him. The girl is much less clear, but I don’t think that matters because she has to be a mystery to Ade.  The reveal isn’t very convincing in my opinion. I don’t know what really happened to the baby, whether Pavel killed it, or the girl, or whether it was an accident or what. I suppose I really ought to think it through because it’s the part of the story I feel least convinced about in my own mind.  So much thought went into this story before drafting it that there’s a danger that it lost all its impact, became a still-born story.

I got some satisfaction from being able to use my knowledge of cameras. And I could absolutely see that tiny cottage set just back from the road. The setting was adequately established in my opinion. Though I wonder whether it would work as well for somebody who has never been to the Marches. I lost the whole scene where Ade was in the office with Gerry and Janine. Did the story suffer? I don’t think so, but it is good to know what Ade was doing before he turned up at the girl’s cottage.

Given a longer wordcount I would like to build up Ade’s desire to impress people, his knowledge that he is a loner, but part of him yearning to belong to somebody. He might go back to confront the girl and start a relationship with her. He might go to Poland to follow her.

Just had the idea for a whole series of stories about the Marches. Where did that come from?