Fireman Tom

The writer won the 2024 Non-Fiction Competition with a heartfelt piece about storytelling, highlighting its profound impact on human behavior.

I know I only posted yesterday, but last night I found out that I had won the Solihull Writers Workshop 2024 Non-Fiction Competition. It’s a rare occasion that I win anything and like all writers, I’m going to enjoy the hell and blow my own trumpet till my puff runs out and before the next onslaught of failure and rejection.

The brief was to write up to 1000 words on ‘why we tell stories’. I chose to use the piece to write a little memoir to my Dad who died last year…….

Fireman Tom (Why we tell stories.)

My father was a firefighter. A strong, kind, and handsome hero to us, his three little doting daughters, as well as to countless other souls he came into contact with in the course of his work. Every night, before we went to sleep, he would switch off the big light, sit on the edge of the bed and tell us a story. The hero of these stories was an imaginary figure called Fireman Tom. Every night we were enthralled by Tom’s latest exciting adventure. It was one of my favourite parts of the day. We would listen intently, silent and wide eyed as Fireman Tom rescued cats from tall trees and dogs from fast-flowing rivers, removed saucepans from small heads and freed skinny limbs from park railings, and regularly carried small children, just like us, to safety from fire and flood.

The parallels between my dad and Fireman Tom were not lost on me, and when he slowly told the story of the day in his low bed-time voice, it was him I saw in my mind’s eye. The way he looked when he got home in the evening, took off his uniform and tie and loosened his collar. His cobalt blue eyes. His thick dark Brylcreemed quiff. The hair on his strong tanned forearms, dark against the crisp white of his rolled-up shirt sleeves. His familiar scent of tobacco and Old Spice. Fireman Tom was my dad, and my dad was Fireman Tom.

Fireman Tom’s stories were always relatable and relevant to us. They were carefully suited to our ages and experiences. When we were very young, they were mostly about dogs and cats and playground mishaps. As we got older, so did the victims, and the accidents that befell them, portents about what might happen if we didn’t take care crossing the road, climbed or crawled into dangerous places, or played with matches. When Dad took a job as the Chief Fire Officer in a small town in Southern Rhodesia and we emigrated to Africa, Fireman Tom was rescuing small African boys from deep wells and saving families from raging bush fires.

But, like all things, we grew up and grew out of bedtime stories. More and more often our parents were in bed before us, especially at weekends. Now our bedtimes stories were reading teen magazines in bed, late-night horror movies or chatting on the phone for hours to our girlfriends. Fireman Tom and his adventures seemed childish and irrelevant and far behind us. But were they…?

Humans have told stories since the beginning of time. Indeed, Will Storr in The Science of Storytelling[1] states that storytelling is an essential part of what makes us human. He says that the stories we hear can shape who we are. That they can drive us to act out our dreams and ambitions and mould our beliefs. So, what exactly is it about stories and storytellers that can influence us in such a way?

Over the past couple of decades there has been a glut of research into why humans tell stories to each other and how these stories affect us and alter our thoughts and behaviours. Jeremy Adam Smith, in an online article for Greater Good Magazine in 2016[2], says that “Stories are told in the body.” Essentially, the research tells us that we feel stories – that a good story, well-told, can make the listener (or the reader) feel that they are inside the story. That they are living the experience with the character in the story, triggering a real physical and emotional reaction and several neurochemical reactions in their brains and bodies. If we feel stressed or excited by the situation in the story, this can trigger the fight or flight mechanism and the release of adrenaline in our bodies. If we are emotionally invested in, and empathise with, the character, this can cause the release of oxytocin, the so-called “caring” hormone that is present in nursing mothers.

Because we feel these things more when we experience them in the context of a story than we would if we were just presented with the facts, the memories of them stay with us and change our thoughts and behaviours. If my dad had just told us that many children are killed or injured crossing the road every day, and many more are killed or injured in house fires, I wonder if I would be holding my granddaughter’s hand quite as tightly when we cross the road together, or be warning her quite as seriously about the dangers of playing with or near an open flame. I wonder if I would be telling her quite as vehemently not to get too close to the riverbank. I wonder if I would always be seeking out the fire exits on a trip to the cinema or a concert. I wonder if I would hold the same high levels of trust and respect for members of the emergency services.

But of course, storytelling is about much more than influencing other’s thoughts and behaviours in a significant and lasting way. It is also about amusement and entertainment, establishing connections, forming and strengthening relationships and human bonds. Those moments spent with my father before we went to sleep each night were among the most precious of my life. Warm and cosy. Calm and loving. All his attention focused on us and ours on him. Yes, we were learning valuable life lessons through Fireman Tom’s adventures, but we were also learning about our father. About what he did at work all day. About who he was and what was important to him. About how much he loved and cared for us and how he would always keep us safe.

My strong, loving father finally succumbed to dementia last year with his three daughters at his bedside.

I wonder what Fireman Tom is doing now.


[1] Will Storr, The Science of Storytelling, Harry N. Abrams, 2020

[2] Jeremy Adam Smith, The Science of the Story, Greater Good Magazine, 2016

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Book Review – 101 Horror Books to Read Before You Are Murdered by Sadie Hartmann (Mother Horror)

This book features a curated collection of underrated horror books, categorized by type, with additional author recommendations.

Oh my! I am sooo happy to have stumbled across this book. Its contents have created a mouthwatering new TBR list that will potentially keep me going for years (OK, maybe a year or several months)!

The book is a lovingly curated collection of the best underrated horror books to have been written in the last few decades. The book itself is a thing of beauty in the way it is laid out and illustrated. Written by Sadie Hartmann (aka Mother Horror on social media), of Night Worms Publishing and Dark Heart, it categorises and sub-categorises the books by horror type and provides publication details, a synopsis, and some notes on themes, tone and style. There are Author Spotlights in each section which lists their own books and some of their personal reading recommendations.

I’ve only read a handful of the 101 titles listed between its covers and have been wanting to read several more, but largely these are all books that I have not read. To unashamedly steal the Goodreads categories:

Currently Reading: Zone One by Colson Whitehead

Read: Mexican Gothic by Silvia Moreno-Garcia, The Silence by Tim Lebbon and The Loop by Jeremy Robert Johnson,

Want to read: The Bone Weaver’s Orchard by Sarah Read, Bird Box by Josh Malerman, Tender is the Flesh by Augustina Bazterrica and I’m Thinking of Ending Things by Iain Reid.

That leaves 93 new books for me to add to my list and start getting my teeth into.

But the featured Author Spotlights list their own books and their personal horror recommendations, adding even more to the list as these are not counted in the 101 main titles.

Of them, I have read (and loved) all of Paul Tremblay’s novels; A Head Full of Ghosts, The Pallbearers Club, Disappearance at Devil’s Rock, The Cabin at the End of the World and Survivor Song. I haven’t read any of his recommendations, but The Haunting of Hill House by Shirley Jackson has long been a Want to Read. Another featured author, Christopher Buehlman (who I have not read), also includes this in his recommendations. I’m going to have to prioritise this one.

I’ve read several of Stephen Graham Jones books, The Only Good Indians, My Heart is a Chainsaw and Don’t Fear the Ripper and one of his recommendations, It by Stephen King.

Josh Malerman is someone I definitely need to get into. Bird Box is already on my list and I have already read and loved two of his recommendations, The Exorcist by Willima Peter Blatty and Perfume by Patrick Suskind

I loved The Hunger by Alma Katsu and The Only Good Indians is one of her recommendations.

Tananarive Due, is an author I have never read but I have read two of her recommendations, Beloved by Toni Morrison and again, The Only Good Indians by Stephen Graham Jones.

Similarly, I have not read Ania Ahlborn but have read all three of her recommendations, Misery by Stephen king, Rosemary’s Baby by Ira Levin and Lord of the Flies by William Golding.

Finally, I have never read any V Castro, Adam Nevill or Grady Hendrix or any of their recommendations with the exception of Interview with the Vampire by Anne Rice

All in all, the Author Spotlights add another 81 books to the list!

Oh, how I love a list. It feeds the OCD part of me (that you might have observed within my ramblings above) in a disturbingly satisfying way. But I also love a reason to push me out of my reading comfort zone and explore new authors and genres. Horror per se is not a new genre for me, but some types of horror are. The books I have read mostly fall into Hartmann’s Human Monsters and Natural Order categories, and there are some categories that I haven’t even dipped my toe into such as Paranormal and Supernatural. So many books to read. So little time! I’d better get started!

But, before I go, a parting word on Short Story Collections. There is whole section of the book devoted to these. In fact, Hartmann states that she believes short fiction is one of the best formats for horror. I’m ashamed to say then that I tend to shy away from these as I prefer to get my teeth stuck into a full-length novel. For me, the longer the better! But maybe I’ll give some of these a go. After I’ve read the 174 new books on my TBR list that is ……….

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