Despite all its faults, as a science writer I have found social media wonderful - it allows me to tap into both the science and writing communities, which is excellent for someone working in a job where you don't have much opportunity to meet others in your line of work. I've been involved in this kind of thing for a while, beginning with an ancient forum (I can't remember where it was hosted) set up by the Society of Authors. I'm still in contact with quite a few writers from this, who can share a wry smile when remembering the lack of foresight from whoever set it up, that a forum titled Writers' Exchange might look a little misleading when the words are run together without an apostrophe. Until recently, by far the most useful social media site for me was Twitter. It probably still is, but X is declining in value because a number of my long-standing contacts have abandoned it out of dislike for its owner. Personally, I think this amounts to cutting off your nose

Direct debits are wonderful things. They make it far easier when dealing with, say an energy company, where payments are regular but potentially variable. But I've reasonably discovered a downside, at least if you are involved in a charity or small organisation. I'm treasurer of a small local charity. The other day I was glancing at the bank accounts online and noticed something odd. Two direct debit payments had been made from our account, both for relatively small amounts. Each had a reference starting DVLA- followed by a car registration number. When I had a look at our regular payments there were in fact three direct debits of this kind, though one hadn't had any money taken yet. This was from an account only used for incoming payments. We had not set up any direct debits - certainly not with the UK's DVLA, which handles car licensing as there are no vehicles associated with the charity. I rang the bank and, to their credit (or, rather, ours) they had refunded the m

REVISIT SERIES -  An edited post from October 2013 There was a lot of fuss in some sections of the news recently about runner Mo Farah having problems because someone pushing a child's buggy in the park where Mo was trying to train wouldn't get off the path to keep out of Mo's way. Now I'm sure Mo is a nice guy, and was very polite, and there certainly shouldn't have been the fight that ensued. But I also am sure that the media outrage that poor old Mo had to suffer so much by not having the path to himself because of this unreasonable father was ridiculous. Let's get the picture in perspective. Mo is very good at a game, the playground game of 'Who can run fastest?' He's one of the best people in the world at this particular game, and that's lovely for him. But compared with keeping a baby or toddler safe, it is a totally worthless activity. It's fine in its place. If he had been training on a running track and the father and started pushing

I am a big fan of BBC Radio 3 - their serious music station*. Of late I've seen a few people complaining about it dumbing down because more of their programming has parts of longer compositions, rather than playing, say, a whole symphony or concerto. However, I think that those who moan have got it wrong. The accusation of dumbing down is partly because this is what the lighter commercial rival, Classic FM, does, and partly on the assumption that serious music lovers should stick with a whole piece as the composer intended not just listen to an edited highlight. The comparison with Classic FM, which almost always plays 'classical favourites' doesn't make much sense - Radio 3 continues to play a much wider range of music, from tudorbethan through to contemporary composers. But, for me at least, the sampler approach of often not playing a whole piece makes a lot of sense. Like many music lovers I subscribe to an all-you-can-eat music streaming service. For me, Radio 3 doe

REVISIT SERIES -  An edited post from October 2014 I find it interesting the way that the media gets in a state of outrage when someone defaces a Banksy artwork. It feels a touch hypocritical. The image shown here has according to Wikipedia been 'defaced by a paintball gun’. Actually the 'defacing' is quite effective as it looks as if someone has shot at the people with a paint gun, which itself could be interpreted artistically (in fact, I didn't know it was 'defaced' until I looked it up). Admittedly if all someone does is scrawl a tag over it, it's not a great contribution. But even so, I'm not sure we have any right to complain. The artists in question need to expect that their audiences may abandon the reverence that is adopted by the audience for traditional art. This occurred to me when a friend was describing attending a play at Bristol's fairly avant garde Old Vic Theatre. Apparently the performance was of a Samuel Beckett radio play, and a

I have been a fan of the British fantasy writer Alan Garner since meeting him, age 11. Garner attended the same school as me (significantly earlier), and came to give a talk, not to a huge auditorium but just a classroom of young readers.  For nearly a decade he brought out books that almost perfectly aged with me in their target audience, from The Weirdstone of Brisingamen to Red Shift (with the last we parted company as I found it too depressing). I was sufficiently fascinated by his books that I made a home movie in the late 70s visiting many of the locations used in them.  For those who remember the copper mine on Alderley Edge used evocatively in his writing as a dark underground location, a friend and I (probably illegally) explored a bit of it - which is where the photos below come from. In The Weirdstone there is a strange booming noise in the mine, coming from the goblin-like creatures, which meant we did eventually decide to leave in a hurry when we heard a similar sound.