A Song for the Season

By William S Allin

SEEK AND YOU WILL FIND (but not always what you imagine!)

BTN1, the biggest producer of television shows in Europe, has commissioned a new show. 'A Song For The Season' will be a competition to find the best new song for the festive season and is a reimagining of a show made during the channel's infancy – over 60 years previously.

Disgraced, ex-BTN executive Jazz Matthewman has been invited to make a documentary about the earlier show. She plans to highlight the original show's impact and benefits to the winners. But there's a mystery that she can't unravel - where should she start, and why is it so difficult to identify the song's writers?

Meanwhile, her partner, investigative journalist Niall Quinn, continues his pursuit of identifying the best and worst lovers of a well-known celebrity from clues given in her autobiography.

Little do they know, their investigations will take them on a rollercoaster ride of unexpected twists and turns, leading them to places they never thought they would go, providing lessons in a history they never knew existed.

Finally, William S. Allin brought his ever-expanding short story to print. With each chapter representing a month, the story builds to a Christmas they will always remember, and a year they could never forget. The unique structure of the story, unfolding month by month, adds a layer of intrigue and wonder to the narrative, keeping the readers hooked till the very end.

• Language: English
• Publisher: JOKApress
• Release date: Apr 11, 2024
• ISBN: 9781739171704

William S Allin

William S Allin was born in the valleys of South Wales over sixty years ago and still lives there - why would he leave? Having spent his working life writing for others, early retirement allows him to write things he enjoys. His fiction is mainly based on everyday life and all that it entails, including intrigue, romance, action, humour, and friendship. When he's not immersed in his writing, William finds solace in his other passions. He enjoys the simple pleasures of reading, cooking, and listening to music, all while accompanied by his lively Beagle, George. Factory Fortnight is his fifth novel but is the first to be published by draft2digital.com. JOKApress aim to make the other titles available soon.

Book preview

A

SONG

FOR THE

SEASON

WILLIAM

S. ALLIN

A picture containing text, book Description automatically generated

First published 2022

Copyright © William S Allin/JOKApress 2022

Cover design by William S Allin

The right of William S Allin to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the publisher's prior permission, except for using quotations in a book review.

This book is a work of fiction, and, except in the case of historical fact, any resemblance to actual persons, living or dead, is purely coincidental.

Every effort has been made to obtain the necessary permissions concerning copyright material, both illustrative and quoted. We apologise for any omissions in this respect and will be pleased to make the appropriate acknowledgements in future editions.

ISBN: (ebook) 9781739171704

(Paperback)9781739171711

Twas the Night Before Christmas

Lucinda St John-Stuart nodded and smiled politely as her father began what she hoped would be his closing remarks. The clock on the Boardroom wall regularly reminded her that she needed to leave soon if she was to be on time to meet her fiancee. They planned to drink with his fellow band members before delivering gifts to his parents. The pair would later join her family to spend Christmas at their property in Essex.

Holding a meeting with the production team on Christmas Eve demonstrated how seriously Daddy took this new venture. Lucinda knew that it was a project close to his heart. Her grandfather and great-grandfather were both actively involved in making the earlier version.

The original show ‘A Song For Christmas’ was a nationwide competition organised by the British Television Network 1 (BTN1), commonly known as B1. The channel invited schools from all over the UK to write and perform a new Christmas tune. The best eight songs were performed at the Albert Hall in a live Grand Final show. The year was 1957, the first television broadcast of Queen Elizabeth II’s Christmas Day speech.

B1 made the programme to highlight its own potential. The Government at that time had recently approved the first commercial television channel in the UK, Channel 3, and the media suggested the new network would leave B1 looking old-fashioned and stuffy. The show proved to be a great success and sparked viewers’ interest. A much younger Daddy helped B1 staff undertake the monotonous and time-consuming counting of votes submitted on postcards.

Luci had often heard her father speak of the original contest but had never wanted to research it further. Her sister, Clarissa, had been commissioned to produce a documentary comparing the old and new versions, and Luci would wait to see that. She was less committed to continuing the St John Stuart legacy than her parents and sister. Luci shared her late brother’s indifference to the family lineage.

The idea to reimagine the show to find a new song for Christmas had not been her father’s.  An ex-employee and friend of the family, Jazz Matthewman, proposed it to allow B1 to compete with the numerous talent shows on the other channels. Luci’s father instantly became the show’s biggest supporter. He instructed Jazz to make her version the television highlight of the year.

However, shortly after development work began, the network was rocked by allegations of cheating on several programmes. B1 introduced a blanket ban on competitions and shows that required the general public to cast a vote.  It had taken three years, and multiple staff changes to get the channel back on track. The controversy had an unexpected benefit for her family. Her father, Chester, now had greater, almost total, control. Following his appointment as Chairman and Executive Director, one of his first actions was to announce the new show.

Chester’s revamped version would form part of B1’s celebrations, marking Elizabeth II as the longest-reigning British monarch. Since the original contest, the UK had become far more multicultural and secular, so the new songs did not have to focus on Christmas. Instead, they could reflect on the season. A focus group decided the latest version's title would be ‘A Song For The Season’.

Entries could be submitted by any organisation or individual who worked to encourage children's development or helped improve young lives at home or abroad. Applications could be submitted electronically or on paper but had to be accompanied by a video of the song being performed.  B1 anticipated a massive number of applications and was not disappointed. The latest press releases proclaimed that over 2000 application packs had already been downloaded from the B1 website, and the closing date was still a month away.

Once again, regional judging panels would choose the best entries to compete in televised regional contests.  B1’s local channels were tasked with organising and filming the heats, the winners of which would proceed to a national final. B1’s management had sought production companies to make the ‘Grand Final shows’ where the eight regional winners would compete for viewers’ votes.

B1 received the tenders at the end of November, and senior management spent a month assessing the three proposals received. The production team believed this meeting would inform them which of the three bids was successful and with whom they would liaise, but Luci knew differently.  Plans had changed, and Chester wanted B1 to make all the shows without outside help.

Luci had always admired her father’s command of his audience and ability to get what he wanted. Granted, on this occasion, the room was full of sycophants desperate to be retained to work on the new commission, but it was evident that Daddy had their undivided attention. He told his audience that he believed they could make it cheaper and better than the companies that had submitted tenders. He wanted to learn the team's views before deciding and announcing B1’s proposals in the New Year.

Chester went to great lengths to emphasise that this new approach meant additional work without more resources, but he was sure his specially selected team would meet the challenge. However, should any team member think differently and no longer wish to be involved, this was their opportunity to say so.  They did not have long to decide. Chester wanted work to begin in January and was keen to ensure the production team hit the ground running.

Lucinda did not doubt that Daddy would get his way. He had appointed the production team on lucrative but short-term contracts, and they would do pretty much as he pleased.

It had not always been that way. When Jazz Matthewman was around, Daddy frequently had to fight for what he wanted and rarely beat Jazz without pulling rank. He usually accepted defeat gracefully. Jazz had an excellent eye for programmes and seldom made a wrong choice. Luci could not recall her father facing opposition to any of his proposals since Jazz’s departure.

Studying the room, Lucinda noticed that the smiles had left some faces, but nobody had voiced any disagreement.  A few people exchanged glances and raised eyebrows but kept their thoughts to themselves.

Chester summarised the next steps and concluded, Thank you, everyone. I appreciate how awkward I have made things for you by calling this meeting today, but your input has been invaluable. I hope you agree it has been worth the effort. I genuinely believe we have made the right decision. There is much to be done before next December, but we can worry about that in January. In the meantime, enjoy your Christmas and New Year break. Please make sure you take time to recharge your exhausted batteries. For my part, by the time we return, I will have appointed someone to take the lead on the project...

Luci saw several pairs of eyes focusing on her. The gossip factory must have been working overtime.

...Merry Christmas and a happy New Year to you all.

Reciprocal best wishes echoed around the room as the staff clapped, congratulating themselves on a job well done. Lucinda looked at her father, who winked, and blew him a kiss. She mouthed that she would see him later and quietly left the room.

Twelve Drummers Drummin'

For the briefest moment, she feared that the self-doubt, loss of confidence, and general anxiety that had taken her family, friends and counsellors months to help her overcome was making a return. She would not let it happen. She could not let it happen. She owed herself and her support group not to let this set her back. She told herself to breathe in deeply and let it out slowly. Again and again.

Gradually, the anxiety started to pass. There was no panic. Everything was calm. Onwards and upwards. The feeling of angst was, thankfully, no longer a daily occurrence. Jazz would not dwell on it, but she would continue to learn from every experience of it recurring.

Her brother spoke again, and, almost automatically, Jazz said. I am sorry, Bendy.

Why are you sorry? It’s not your fault. You weren’t responsible...

Jazz ran her fingers through her hair and then transferred her mobile to that hand. I should have prepared them better...maybe the format wasn’t right...

Shut up, will you? Your assistance was invaluable. B1 told us they made their decision on production costs, not content. They believe they can save money by keeping the production in-house.

Jazz had feared this might happen. I wonder who will lead the show?

Lucinda.

Right, that makes sense. She was the obvious choice. Jazz rated Luci, and nepotism had never been a problem for Chester. She’ll do a great job.

Jazz had spent much of the previous summer helping Benedict's fledgling television production company, mmTV, to develop ideas to pitch to B1, the largest producer of television programmes in Europe. mmTV had been competing for the right to make the final of ‘A Song For The Season’, where the eight regional winners would perform for the ultimate prize of the best song. The recruitment campaign proudly proclaimed that applicants would participate in television’s event of the decade. 

mmTV, the brainchild of Jazz’s brother and his old mate from college,  had gained considerable experience making programmes for various channels, but a contract with B1 had always been their holy grail. Getting shortlisted had been a significant achievement for the relatively new enterprise, but Jazz had been confident that they would get the job. Now she knew they hadn’t; she was disappointed for her brother.

Jazz was acutely aware that the show they were chasing was close to the heart of the channel’s Chairman and Executive Director, Chester St John-Stuart.  She believed the St John-Stuart family would use the remake to demonstrate their continued control of the station and provide evidence that Chester deserved a knighthood as a loyal and dedicated follower of Her Majesty. This honour had eluded his father and grandfather.

Her brother sounded surprisingly upbeat. We got very close. Next time, we will nail it.

Jazz hoped he was right. She would have loved to have a role in helping mmTV make the programme and needed no reminding that, had things turned out differently, this would have been her show.

Three years previously, Jazz was the Queen of Saturday Night television, having almost single-handedly turned around B1’s weekend ratings. Many commentated that Jazz had restored Saturday evening viewing as a terrestrial television family event.

She commissioned innovative, popular, and financially successful formats. Many of her shows have been sold to other countries, bringing significant additional revenue and worldwide recognition to B1.

B1’s success had seen its main commercial rivals, Channel 3 and the Australian-owned Network 4, suffering significant losses in advertising revenue, a substantial fall in their share prices, and job losses as profits fell as quickly as viewing figures. Jazz was offered vast sums of money to switch channels but had chosen to remain where she was. She thanked Channel 3 and Network 4 for their generous offers, but as B1 had given her a chance and had taken such a massive gamble with her appointment, she felt obliged to stay where she was. Jazz ignored those urging her to accept one of the offers and maintained that loyalty counted for a lot in her book. She never regretted her decision, even when allegations about rigged voting and flawed competitions on several B1 shows began circulating.

Jazz was no longer directly responsible for producing any of the programmes in question, although a couple had been shows she had helped to create. That did not protect her from criticism.

Press stories circulated about neighbours and friends of B1 employees winning significant prizes. The reports from the winners were consistent. Someone linked to the channel rang them, informing them they were randomly selected to participate in an off-screen raffle. The script was always the same. The ultimate prize was a car, but there were multiple other rewards. To enter, they needed to ring at a specific time and, if successful, would get another call to inform them what they had won.  

B1 steadfastly denied any knowledge of such a raffle. Nobody won a car, but some who rang at their allotted times bagged significant prizes offered on prime-time shows. The press claimed the number of suspicious cases was too great to be a coincidence and concluded that somebody working at the channel had influenced the results. B1 was rife with corruption. 

Jazz and her team denied any involvement and dismissed all accusations of wrongdoing. An internal investigation found nothing to suggest they had misbehaved, but with the absence of a culprit and no apparent alternative explanation, Jazz found herself under a ferociously hot spotlight.

The press coverage of the scandal had been brutal for her. Newspaper editors, some longstanding competitive rivals of her partner, did not let the truth get in the way of a great story and went into overdrive. The recurring accusation revolved around Jazz being pivotal in everything going wrong at B1.

Reporters tried to persuade her close colleagues to go on record pointing fingers at Jazz, but her friends knew she would never have condoned cheating and refused to speak to the media. That did not stop the papers from creating and regurgitating fake news.

With the speculation showing no signs of abating, the board of B1 suggested that Jazz should fall on her sword, honouring her duty to protect the broadcaster and allow it to come out of the fiasco with integrity. Jazz initially refused and planned to fight the allegations but sought counsel from Chester, who she believed would look after her and would never say or do anything that was not in her best interests.

Jazz had gotten to know Chester professionally and personally, as she had been in a relationship with his only son for several years. When Chester advised that Jazz had little choice but to leave, she accepted his recommendation and resigned. She was unhappy about it but assumed that Chester was right. Jazz was in no position to fight back. There was no evidence linking her to the fraud, but there was no way she could prove her innocence. Chester insisted that this would not be the end of her career.  Given time, he was sure that she would get her job back.

Jazz accepted her fate and agreed not to work in television for two years. The channel’s lawyers had wanted five, but Chester argued that two was sufficient. In return, she received a sizeable severance package. The amount of compensation was also much publicised and criticised, but Chester maintained it was fair considering Jazz’s significance.

Once everything had been signed and sealed, Jazz realised there would be no way back. The nature of her departure meant she would forever be known as a cheat and cast out of her beloved industry.

The bottom fell out of Jazz’s world. She could not come to terms with what had happened and, for several months afterwards, rarely left her flat. She seldom spoke to anyone outside her immediate family and close friends. Niall had been one of the few she would talk to, and he played a significant role in her rehabilitation.

The pair met when she moved from B2 to its then-sister channel, B1. They quickly forged a friendship, which was all Jazz wanted at that time. She was living with Chester’s son Cameron and had discussed marriage. Cameron was keen to wed, but she was unsure she was ready.

Jazz stayed in contact with Niall after he left B1 to pursue a new career. When she and Cameron separated because of his continued drug misuse, Niall invited her to accompany him to a film premiere. A romance slowly blossomed, and when Niall sold his business and used the proceeds to buy a house, he suggested they move in together. Jazz accepted his offer but kept her flat if things did not work out. Four years later, they were still together.

Niall helped persuade her that she had nothing to lose from helping Bendy with the pitch to B1. mmTV was unlikely to win the contract, and her brother regarded the exercise as a valuable learning experience for his team. Niall thought it would be a good opportunity for Jazz to test the water.

Jazz originally signed up to provide feedback on ideas at mmTV. Her contribution quickly extended to making suggestions for the show, including set design and format. She had almost forgotten how good it felt to work on a television show and was delighted to be involved. As the weeks passed, she regained confidence and self-belief and began believing that mmTV would deliver what Chester sought. Jazz took it personally that mmTV had not gotten the contract.

I am so sorry, Bendy. I’ve lost my touch.

Stop saying that and quit feeling sorry for yourself... you drama queen. You did brilliantly. It’s been a great effort from the whole team, and we are in a much better place to compete for future commissions. Overall, it is wonderful news for us. They’ve awarded us three shows. He did not wait for Jazz to ask. We’ll make the spin-off show from their baking competition, a weekly chat show featuring a different sporting personality talking to his or her idols, and a new consumer rights show featuring that guy who used to present the breakfast news.

Jazz had no idea who that could be. But you could have had the big one.

And we could have ended up with nothing. Chester told me that the panel was immensely impressed with our ideas. They will steal some of them, including the documentary, but they need to reduce costs, so they are making the shows themselves.

They could have decided to do that earlier and saved everyone a lot of wasted effort. As soon as she had spoken, she knew why B1 had not brought an end to the tendering process. If they had done so, they would have missed the chance to pick the best of other people’s ideas. She would have done the same thing herself.

She used a tissue to wipe her nose and then tucked it back up her sleeve, a habit she inherited from her mother many years ago. Did he say who is making the documentary?

He did. His youngest daughter will take the lead. He mentioned that it was a nice starter project for her. He thought it further demonstrated the family’s commitment to B1 and their long-standing ties with royalty.

Just like I thought. Chester’s father and grandfather made the original show. Now, his older daughter will lead the making of the new version, and her sister will make a documentary that reminds everyone of the family history and connections.

They have asked if we can release Constance to work on the documentary with Clarissa. Is it Clarissa? Is that the younger daughter?

The thought of Constance, a production assistant at mmTV, triggered a memory in Jazz’s mind, but the significance was slow to appear. Yes, Clarissa, named after his wife’s mother. Jazz could not understand why B1 had not tried to poach Abbie, the Head of Production, or Imogen, the Assistant Development Producer and asked the question. Any idea why they wanted Constance when Imogen and Abbie have much more experience? They led on the pitch. Constance was largely the note taker.

I thought it strange too, but apparently, she was in uni with Clarissa, and they had worked well together on a few ideas as part of their course. Chester is very proud of B1’s record in developing new talent. He said the last half-sentence mockingly, trying to mimic the person who had made the request.

Jazz recalled Constance’s repeated questions about the documentary and how Jazz would make it if given a chance. Jazz was more focused on the main show then, and her intention had always been for mmTV to subcontract the documentary. She only provided Constance with a basic outline. She was now pleased she hadn’t given away any ideas. So Constance might have been a plant. Clarissa must have heard about the documentary and got Constance to gather as much detail as possible before leaving you to join B1. I am just relieved I didn’t tell her anything useful. I take it you said yes?

I did. It is a real opportunity for her, and, to be honest, she has not fitted in as well as we’d hoped.

She probably knew it was only short-term. Clarissa will now be responsible for developing a documentary revealing her family’s dedication to the Queen and country. It will be so twee you’ll be able to smell the bullshit through the screen.

Bendy laughed and then replied. You never know. She might not be a chip off the old block?

Take it from me, Bendy; some enormous egos are at work here. This event will become B1 and the Stuart family's most blatant publicity feature. The documentary will be nothing more than a promotional video.

It’s not like you to be anti-Chester.

I’m not, not really. I am just really disappointed that you didn’t get the show. I was going to ask if I could have a role in the documentary...

Oh yes, what role was this?

I don’t know. Possibly the producer or at least someone helping to set the spec if you subcontract it.

As you know, I was never very keen on subcontracting. I would have preferred to keep it in-house.

Ah well, it’s irrelevant now. Clarissa and Constance will be on the case.

Why don’t you make one?

Uh?

Why don’t you make an alternative version?

What?

Has that cold got to your ears? I am suggesting you make a documentary. It’s not as if you’ve got anything else to do.

Thanks, bro. With family like you, who needs enemies? I’ll have you know that I’ve got plenty to do. I’m booked to deliver a series of drama school lectures.

Stop sulking. You know what I mean. I know the current round of lectures ends soon, and you won’t be invited back until next autumn.

Jazz grudgingly accepted he had a point. Hmmm.

So, you’ve got time on your hands. There’s bound to be a decent story in it somewhere. It is unlikely that Chester’s daughter will do much research. From what you say, she will concentrate on how great their family is and how much they love the Queen. You could dig into matters, find the truth, and discover more about the real people involved. Find out if the original show helped or hindered those who took part. Who wrote the song? What happened to the money? How did it affect the lives of the singers? How did being on the show impact their lives? This new show will celebrate the Queen’s years on the throne so you can show how the country has changed. You know the sort of thing.

Jazz’s head had started to fill with questions. I do, and it sounds interesting, but who would make it?

Der...you would. You could be in total control, director, producer, narrator.

She very much liked the thought of that.  I would need some help. I’m not good with a camera or sound, and I wouldn’t know one end of an editing suite from another.

Oh well, that’s the end of that then. Bendy sniggered. You must know plenty of people who can work a camera, and sound is not that difficult. Most camera operators do both jobs these days. I tell you what; I’ll have a word with Robbo. Jazz knew Robbo was a