A Halloween spanking story

It floated ghost-like in the corner of her vision. A thin line, like a hair trapped inside a pair of glasses. Only Judith didn’t wear glasses.

It was so faint as to be almost imperceptible. If she tried to focus on it, it vanished. It was curled idiosyncratically at one end, reminiscent of a shepherd’s crook – or, come to think of it – the canes on the wall of the headmasters’ study. Judith was now a senior pupil of an old-fashioned New England school, and so had sat beneath the canes many times, always mesmerised by what they represented. A means of punishment, of ensuring obedience, of making bottoms sore. Not that Judith had ever been disciplined herself, of course. Her school record had been impeccable, her weekly visits to the headmaster had merely been to discuss school business, her responsibilities as a prefect, the logistics of field trips and the enforcement of school regulations.

Nevertheless, the canes on wall had become a secret fascination. When the head’s attention was elsewhere Judith’s eyes would be drawn, almost magnetically, back to those four thin rods, each lying horizontally in two little curved brass rests, crook handles downwards. She’d try to assess in a glance if any had recently been moved. Each cane was the same length, so usually they all lined up. But sometimes, one cane was out of position, a bit to the left or right of all the others. Which had to mean, at some time during the past week – my goodness – one of her fellow pupils had been…

Barbara interrupted her day-dreaming, “So… are you coming?”

Keep reading

Fall is a Halloween spanking story, set in 1950s New England. The spooky woods where witches were once said to dwell have since been replaced by a staid and boring suburbia. And a group of teenagers, now too old for pumpkin parties, decide to embark their own pulse-quickening adventure…

What other readers have said:

“My all-time favourite Halloween story!“

“Love how you used traditional horror story tricks, where the fear (or
fun) comes from what we don’t know, rather then what is explained. It’s a
trick commonly ignored when writing horror stories of this caliber.“

“What’s so good about this story is even now I can’t decide whether the rooms of the house represent my most cherished dreams or my darkest nightmares…”

What do you think?