"OK Gloria, this is an international spy novel so try and look suspenseful. And provocative. And continental. With a hint of frisson. Keep it classy."
"OK Deborah, this is a really tense scene in the novel so try and look imperiled. And intriguing. And beguiling. Maybe a hint of chagrin. Now light me."
"Right Agatha, you're an international hitwoman so try and look dangerous. And possibly Spanish. And equestrian. Give me Spanish horses in your eyes. Be a danger jockey, but a bit teasing. Maybe undo a button."
"Right Penelope we're going for medieval on this one, but sexy. Sexy medieval. Champagne and Charlemagne. The Wife of Bath on a hen night. Give me Joan of Arc, but with a kinky whip."
"OK Amanda, I want stern but sexy. And petrochemical. Sexy inorganic petrochemical. And cleavage. Massive pipelines and big plungers, but classy."
"OK Jill, think Cairo. Pyramids. Sexy pyramids. Amenhotep in expensive perfume. Cleopatra on a promise. Maybe with some pouting."
"OK Pamela, I want seduction. And intrigue. And the deep sea fishing industry. Think cod, but sexy. Sexy, intriguing cod. Literally give me fishnets. With cleavage."
"OK Fiona, this one's in Berlin. I want sexy, but Teutonic. Classy. Think European. A braless Brandenburg Gate of beguiling. Menace that map."
"OK Daphne I want British, but sexy. Sophisticated. Maybe with cleavage. And mystery. Mysterious cleavage. Mary Poppins in a string bikini. With a gun. Sexy fish and chips. But classy."
"Remember Emily, you're a cobra. A sexy, dangerous cobra. On a plane. You're a snake on a plane. With long legs. Maybe a pout. Give me pouty snakey danger. Hiss a little if it helps."
"Look Claudia, we don't have any budget. Just do your best. Sexy, but with documents. Put your hood up if you're cold. And scene..."
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Today in pulp I look back at the publishing phenomenon of gamebooks: novels in which YOU are the hero!
A pencil and dice may be required for this thread...
Gamebooks are a simple but addictive concept: you control the narrative. At the end of each section of the story you are offered a choice of outcomes, and based on that you turn to the page indicated to see what happens next.
Gamebook plots are in fact complicated decision tree maps: one or more branches end in success, but many more end in failure! It's down to you to decide which path to tread.
He was the terror of London; a demonic figure with glowing eyes and fiery breath who could leap ten feet high. The penny dreadfuls of the time wrote up his exploits in lurid terms. But who was he really?
Today I look at one of the earliest pulp legends: Spring-Heeled Jack!
London has always attracted ghosts, and in the 19th Century they increasingly left their haunted houses and graveyards and began to wader the capital's streets.
But one apparition caught the Victorian public attention more than most...
In October 1837 a 'leaping character' with a look of the Devil began to prey on Londoners. Often he would leap high into the air and land in front of a carriage, causing it to crash. It would then flee with a high-pitched laugh.
Today in pulp I look back at New Zealand's home-grow microcomputer, the 1981 Poly-1!
Press any key to continue...
The Poly-1 was developed in 1980 by two electronics engineering teachers at Wellington Polytechnic, Neil Scott and Paul Bryant, who wanted to create a computer for use in New Zealand schools. Education Minister Merv Wellington liked the idea and gave it the green light.
Backed by government finances, and in partnership with Progeni Computers, Polycorp was formed in 1980 to began work on the prototype for the official Kiwi school computer.
It was the biggest manhunt in Britain: police, the press, aeroplanes, psychics all tried to solve the disappearance. In the end nobody really knew what happened. It was a mystery without a solution.
This is the story of Agatha Christie's 11 lost days...
By 1926 Agatha Christie's reputation as a writer was starting to grow. Her sixth novel - The Murder of Roger Ackroyd - had been well-received and she and her husband Archie had recently concluded a world tour. But all was not well with the marriage.
In April 1926 Agatha Christie’s mother died. Christie was very close to her: she had been home-schooled and believed her mother was clairvoyant. The shock of her sudden death hit the author hard.