Besides my assignment, I wrote three treats. (Well, given the distinction made in this particular gift exchange, they were a mix of "treats" and "tricks".)


"The Children of Closti the Clam" was written for betony, who wanted a story based on Diana Wynne Jones's Dalemark Quartet.

Betony asked for something about the "fascinating internal mythology" of the series; and, among the suggestions, were "whatever becomes of Robin" and "dealing with the consequences of immortality". It is canon that only some of Tanaqui's family turn out to be Undying like their mother; so I wrote futurefic about the next few decades after The Spell-Coats, seen from Tanaqui's perspective as she slowly realizes that some of her siblings are aging while she is not.

I had already written one Dalemark story, though it was not purely in that fandom, being a Time Team fusion. I decided, therefore, to use a variant of that webpage design for "The Children of Closti the Clam". The background is a rather complicated basket weave in a muted tone; and the same graphic was used to make a decorative button. The panel for the story has a border that layers multiple textures in various shades of brown and beige.


"Command the Signs" was written for blueteak, who wanted Susan Cooper's Dark is Rising series.

I have always thought that Cooper could have done more with the incongruity of Will Stanton's position as an Old One who is eleven years old and the youngest of a large family, particularly when he is new come to his power. Blueteak's prompt began "I've always loved the way magic creeps into the ordinary in this series, or has lurked in it all along, i.e. the Christmas ornaments." It was, in fact, those Christmas ornaments that sparked the idea—what if Will's family got a good look at the Signs? They did see the first few, albeit only briefly; but, at that time, they were threaded on his belt. Later, though, they were linked together on a gold chain.

I spent quite a long time going through my collection of background tiles trying to find something that would pick up the main motif of the story, i.e. the Six Signs, which are shaped like crosses set in circles. I eventually found one among the graphics I collected from Ambographics Art: it is purple, picked out in gold, and twines these shapes together. The colour scheme is copied in the frame around the story; but, as the fancy background has a rather "flat" look, it was necessary to use graphics with a similar "flat" effect when putting it together.

I did not add any decorative buttons; but, as the story falls naturally into a main section and a coda, I needed some sort of divider. I therefore decided to make one with the Six Signs. Since they have to be capable of fitting on Will's belt, the crosses needed to be fairly slender, affording plenty of space for the leather to slide through. I have to say, the result isn't quite how I'd always envisaged them; but I don't see how else they'd look in practice, given the description in the story. Their order is more or less that described by Cooper in the scene where John Smith links them on the chain.


"Back in the Saddle" was written for serenade, who wanted a story based on Dick Francis's 10^lb Penalty. This was distinctly the last story written, since it was not only finished after the collection opened but was uploaded just before author reveals a week later.

Although the prompt mentioned both "tricks" and "treats", Serenade's suggestions were more along spooky lines; so I wrote a sort of ghost story. It picks up both on the fact that Ben's father, once leader of his party (and hence prime minister), would be expected to call a general election to confirm his position; and on the injury that Ben receives at the end of the book, severe enough to prevent him continuing as an amateur jockey. "Back in the Saddle" sees him out of hospital, once again helping with his father's election campaign.

For the webpage, I picked yet another variant of a graphic that I've used several times before, this time in brown tones. For the frame, I also used brown, with touches of grey. I wanted something suggestive of old stables and riding; so the textures in the frame are mostly leather and stone. Then, rather than use a decorative button, I went trolling the net for clip-art of horses to top and tail the story.